Certifications de sécurité et centre de conformité Décembre 2021
Certifications de sécurité et centre de conformité Décembre 2021 Certifications de sécurité et centre de conformité 2 Table des matières Introduction à l’assurance de la sécurité Apple 4 Certifications du matériel 5 Certifications des logiciels et des apps 5 Certifications des services 6 Certifications de sécurité du matériel 7 Aperçu des certifications de sécurité du matériel Apple 7 Certifications de sécurité pour le processeur Secure Enclave 10 Certifications de sécurité pour la puce T2 Security d’Apple 15 Certifications de sécurité des systèmes d’exploitation 20 Aperçu des certifications de sécurité des systèmes d’exploitation d’Apple 20 Certifications de sécurité pour iOS 24 Certifications de sécurité pour iPadOS 31 Certifications de sécurité pour macOS 38 Certifications de sécurité pour tvOS 47 Certifications de sécurité pour watchOS 51 Certifications de sécurité des logiciels 55 Aperçu des certifications de sécurité des logiciels Apple 55 Certifications de sécurité pour les apps Apple 57 Certifications de sécurité pour les services Internet Apple 60 Norme ISO/CEI 27001 60 Norme ISO/CEI 27018 61 Services Apple couverts par les normes ISO/CEI 27001 et ISO/CEI 27018 61 Certifications 62 Certifications de sécurité et centre de conformité 3 Projet de conformité de macOS en matière de sécurité 63 Historique des révisions des documents 65 Glossaire 67 Certifications de sécurité et centre de conformité 4 Introduction à l’assurance de la sécurité Apple Dans le cadre de son engagement à l’égard de la sécurité, Apple collabore régulièrement avec des organisations tierces pour certifier et attester la sécurité de son matériel, de ses logiciels et de ses services. Ces organisations de renommée internationale fournissent à Apple les certifications qui correspondent à chaque version majeure de ses systèmes d’exploitation. De cette façon, elles offrent un gage de confiance, c’est-à-dire l’assurance de la sécurité, selon lequel les besoins de sécurité d’un système sont satisfaits. Pour les secteurs techniques qui ne sont pas acceptés dans le cadre des accords de reconnaissance mutuelle ou pour lesquels aucune norme de certification de sécurité établie n’existe, Apple s’engage à élaborer des normes de sécurité appropriées. Sa mission est de promouvoir une couverture de certifications de sécurité exhaustives acceptée à l’échelle mondiale pour l’ensemble du matériel, des logiciels, des apps et des services Apple. Des certifications sont souvent nécessaires pour satisfaire aux exigences des lois, des règlements et des normes de l’industrie. Les services comme Apple School Manager et Apple Business Manager sont couverts par les certifications ISO/CEI 27001 et ISO/CEI 27018 d’Apple. Tous les clients, y compris les organismes gouvernementaux, les entreprises et les établissements d’enseignement qui déploient des appareils Apple, peuvent utiliser les certifications du matériel, des systèmes d’exploitation, des logiciels et des services pour démontrer la conformité. Certifications de sécurité et centre de conformité 5 Certifications du matériel Puisque des logiciels sécurisés requièrent une base de sécurité intégrée dans le matériel, tous les appareils Apple, qu’ils exécutent iOS, iPadOS, macOS, tvOS ou watchOS, sont dotés de capacités de sécurité directement sur la puce. Il s’agit notamment de capacités personnalisées du processeur central qui alimentent les fonctionnalités de sécurité système ainsi que la puce dédiée aux fonctions de sécurité. Le composant le plus important est le coprocesseur Secure Enclave, dont sont dotés tous les appareils iOS, iPadOS, watchOS et tvOS récents ainsi que tous les ordinateurs Mac avec puce Apple et les ordinateurs Mac avec processeur Intel et puce T2 Security d’Apple. Le Secure Enclave est la structure sur laquelle reposent le chiffrement des données au repos, le démarrage sécurisé dans macOS et les données biométriques. L’engagement d’Apple à l’égard de l’assurance de la sécurité commence par la certification des composants de sécurité fondamentaux de la puce, notamment la racine matérielle de confiance, le démarrage sécurisé, la gestion des clés de protection par le Secure Enclave et l’authentification sécurisée par Touch ID et Face ID. Les fonctionnalités de sécurité des appareils Apple existent grâce à la combinaison de la conception de la puce, du matériel, des logiciels et des services distribués exclusivement par Apple. La certification de ces composants est un élément important de la vérification de l’assurance offerte par Apple. Pour en savoir plus sur les certifications publiques liées au matériel et aux composants du programme interne associés, consultez les articles : • Certifications de sécurité pour la puce T2 Security d’Apple • Certifications de sécurité pour le processeur Secure Enclave Certifications des logiciels et des apps Apple dispose de certifications et d’attestations indépendantes pour ses systèmes d’exploitation et ses apps, conformément aux normes FIPS 140-2/-3 des États-Unis pour les modules cryptographiques ainsi qu’aux critères communs pour les systèmes d’exploitation, les apps et les services sur l’appareil. La couverture des systèmes d’exploitation comprend iOS, iPadOS, macOS, sepOS, le programme interne de la puce T2, tvOS et watchOS. Pour les apps, la certification indépendante comprendra initialement le navigateur Safari et l’app Contacts, puis d’autres apps seront ajoutées ultérieurement. Pour en savoir plus sur les certifications publiques liées aux systèmes d’exploitation d’Apple, consultez les articles : • Certifications de sécurité pour iOS • Certifications de sécurité pour iPadOS • Certifications de sécurité pour macOS • Certifications de sécurité pour tvOS • Certifications de sécurité pour watchOS Pour en savoir plus sur les certifications publiques liées aux apps Apple, consultez l’article : • Certifications de sécurité pour les apps Apple Certifications de sécurité et centre de conformité 6 Certifications des services Apple détient des certifications de sécurité pour soutenir ses clients des secteurs de l’éducation et des entreprises. Ces certifications permettent aux clients d’Apple de respecter leurs obligations réglementaires et contractuelles lorsqu’ils utilisent les services Apple avec le matériel et les logiciels Apple. Elles fournissent à nos clients une attestation indépendante des pratiques d’Apple relatives à la sécurité, à l’environnement et à la confidentialité des informations pour les systèmes concernés. Pour en savoir plus sur les certifications publiques liées aux services Internet Apple, consultez l’article : • Certifications de sécurité pour les services Internet Apple Si vous avez des questions au sujet des certifications de sécurité et de confidentialité d’Apple, transmettez-les à security-certifications@apple.com. Certifications de sécurité et centre de conformité 7 Certifications de sécurité du matériel Aperçu des certifications de sécurité du matériel Apple Apple détient, entre autres, les certificats de validation de la conformité aux normes FIPS 140-2/-3 des États-Unis pour sepOS et le programme interne de la puce T2. Nous commençons par des éléments de structure de certification qui s’appliquent de manière générale à plusieurs plateformes au besoin. Un de ces éléments de structure est la validation de la bibliothèque Corecrypto utilisée pour les déploiements de modules cryptographiques logiciels et matériels dans les systèmes d’exploitation développés par Apple. Un deuxième correspond à la certification du Secure Enclave intégré dans de nombreux appareils Apple. Un troisième correspond à la certification du Secure Element, qui se trouve dans les appareils Apple dotés de Touch ID et ceux dotés de Face ID. Ces éléments de structure de certification matérielle forment la base des certifications générales de sécurité des plateformes. Validation des algorithmes cryptographiques La validation de l’exactitude de l’implémentation de nombreux algorithmes cryptographiques ainsi que des fonctions de sécurité connexes est une condition préalable à la validation FIPS 140-3 et favorable à d’autres certifications. La validation est gérée par le Programme de validation des algorithmes cryptographiques (PVAC) du National Institute of Standards and Technology (NIST). Les certificats de validation des implémentations d’Apple sont accessibles à l’aide de l’outil de recherche du PVAC. Pour en savoir plus, consultez le site Web du Programme de validation des algorithmes cryptographiques (PVAC). Certifications de sécurité et centre de conformité 8 Validation des modules cryptographiques : FIPS 140-2/3 (ISO/CEI 19790) Les modules cryptographiques d’Apple ont été validés à plusieurs reprises par le Programme de validation des modules cryptographiques (PVMC) en fonction de la norme Federal Information Processing Standard (FIPS) 140-2 des États-Unis pour les modules cryptographiques après le lancement de chaque nouvelle version des systèmes d’exploitation depuis 2012. Après chaque version majeure, Apple soumet les modules au PVMC afin de valider la conformité avec la norme. En plus d’être utilisés par les systèmes d’exploitation et les apps d’Apple, ces modules offrent une fonctionnalité cryptographique aux services Apple et peuvent être utilisés par les apps tierces. Apple atteint le niveau de sécurité 1 chaque année pour les modules logiciels « Corecrypto pour Intel » et « noyau Corecrypto pour Intel » pour macOS. Pour la puce Apple, les modules « Corecrypto pour ARM » et « noyau Corecrypto pour ARM » s’appliquent à iOS, iPadOS, tvOS et watchOS, et au programme interne de la puce T2 Security d’Apple intégrée dans les ordinateurs Mac. En 2019, Apple a atteint pour la première fois le niveau de sécurité 2 de la norme FIPS 140-2 pour le module matériel de cryptographie intégré « Corecrypto Apple : gestion des clés de protection », permettant ainsi l’utilisation approuvée par le gouvernement des États-Unis des clés générées et gérées dans le Secure Enclave. Apple poursuit ses efforts de validation pour le module matériel de cryptographie avec chaque nouvelle version majeure de ses systèmes d’exploitation. La norme FIPS 140-3 a été approuvée par le département du Commerce des États-Unis en 2019. La modification la plus notable apportée dans cette version est la spécification des normes ISO/CEI, notamment la norme 19790:2015 et la norme d’essai connexe 24759:2017. Le PVMC a instauré un programme de transition et signalé qu’à partir de 2020, les modules cryptographiques seront validés en fonction de la norme FIPS 140-3. Apple entend conformer ses modules cryptographiques à la norme FIPS 140-3 dans les meilleurs délais. En ce qui concerne les modules cryptographiques actuellement en phase d’essai et de validation, le PVMC tient à jour deux listes distinctes qui peuvent contenir des informations au sujet des validations proposées. Pour ce qui est des modules cryptographiques en phase d’essai dans un laboratoire agréé, le module peut figurer sur la liste des implémentations à l’essai. Une fois que le laboratoire a terminé les essais et recommande la validation par le PVMC, le module cryptographique d’Apple figure sur la liste des modules en cours de traitement. La phase d’essai du laboratoire est alors terminée et le PVMC n’a plus qu’à la valider. Étant donné que la durée du processus d’évaluation est variable, consultez les deux listes ci-dessus pour déterminer l’état de validation des modules cryptographiques d’Apple entre la date de sortie d’une version majeure du système d’exploitation et l’émission du certificat de validation par le PVMC. Certifications de sécurité et centre de conformité 9 Certifications de produit : Critères communs ISO/CEI 15408 La norme des critères communs (ISO/CEI 15408) est utilisée par de nombreuses organisations comme base pour évaluer le niveau de sécurité des produits informatiques. Pour connaître les certifications mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC), consultez le portail des critères communs. La norme des critères communs peut également être utilisée en dehors de l’ARCC, dans le cadre de schémas de validation nationaux et privés. En Europe, la reconnaissance mutuelle est régie par l’accord du SOG-IS et l’ARCC. L’objectif, énoncé par la communauté des critères communs, consiste à établir un ensemble de normes de sécurité reconnu à l’échelle internationale pour fournir une évaluation claire et fiable des capacités de sécurité des produits informatiques. En fournissant une évaluation indépendante de la capacité d’un produit à satisfaire aux normes de sécurité, la certification des critères communs donne aux clients confiance en la sécurité des produits informatiques et permet des décisions plus éclairées. En vertu de l’ARCC, les pays membres se sont entendus pour reconnaître la certification des produits informatiques avec le même degré de confiance. L’évaluation approfondie des éléments suivants est requise pour obtenir la certification : • Profils de protection (PP) • Cibles de sécurité (Security Targets, ST) • Exigences fonctionnelles de sécurité (Security Functional Requirements, SFR) • Exigences d’assurance de la sécurité (Security Assurance Requirements, SAR) • Niveaux d’assurance de l’évaluation (Evaluation Assurance Levels, EAL) Les profils de protection sont des documents qui précisent les besoins de sécurité d’une classe spécifique d’appareils, comme « Mobility » (mobilité). Ils sont utilisés pour permettre de comparer les évaluations de produits informatiques d’une même classe. L’adhésion à l’ARCC ainsi que la liste de PP continuent de croître chaque année. Cet arrangement permet au développeur de produits de prendre les mesures nécessaires pour obtenir une seule certification en vertu de n’importe lequel des schémas d’autorisation de certificat et de la faire reconnaître par n’importe lequel des signataires utilisateurs de certificats. Les cibles de sécurité définissent ce qui sera évalué lors de la certification d’un produit informatique. Elles se traduisent par des exigences fonctionnelles de sécurité plus précises, utilisées pour une évaluation plus détaillée. Les critères communs comprennent également les exigences d’assurance de la sécurité. Les niveaux d’assurance de l’évaluation sont une mesure communément établie. Ils regroupent les ensembles de SAR couramment utilisés et peuvent être spécifiés dans les PP et les ST pour soutenir la comparabilité. De nombreux PP plus anciens ont été archivés et sont remplacés par des PP ciblés en cours de développement, qui sont axés sur des solutions et des environnements précis. Dans un effort concerté pour assurer une reconnaissance mutuelle entre tous les membres de l’ARCC, des communautés techniques internationales (iTC) ont été établies pour élaborer et maintenir les profils de protection de collaboration (cPP) conçus dès le départ avec la participation des schémas des signataires de l’ARCC. Des PP ciblant les groupes d’utilisateurs ainsi que des accords de reconnaissance mutuelle autres que l’ARCC continuent d’être élaborés par les parties prenantes appropriées. Certifications de sécurité et centre de conformité 10 Apple a commencé sa quête de certifications en vertu de l’ARCC pour certains cPP au début de 2015. Depuis, elle a obtenu les certifications des critères communs pour chaque version majeure d’iOS et a élargi la couverture pour inclure l’assurance de sécurité fournie par les nouveaux PP. Apple joue un rôle actif dans les communautés techniques qui se concentrent sur l’évaluation des technologies de sécurité mobile. Cela comprend les iTC responsables de l’élaboration et de la mise à jour des cPP. Nous continuons d’évaluer et d’obtenir des certifications relativement aux PP et aux cPP actuels. Les certifications des plateformes Apple pour le marché nord-américain sont généralement réalisées avec le National Information Assurance Partnership (NIAP), qui tient à jour une liste des projets en cours d’évaluation qui n’ont pas encore été certifiés. En plus des certifications de plateformes générales indiquées, d’autres certificats ont été délivrés afin de démontrer les besoins de sécurité propres à certains marchés. Certifications de sécurité pour le processeur Secure Enclave Contexte de la certification du Secure Enclave Le module matériel de cryptographie (le module cryptographique Apple de la gestion des clés de protection par le SEP) est intégré dans le système sur puce d’Apple des produits suivants : iPhone et iPad de la série A, ordinateurs Mac avec puce Apple de la série M, Apple Watch de la série S et puces de sécurité de la série T intégrées aux ordinateurs Mac avec processeur Intel à partir de l’iMac Pro lancé en 2017. En 2018, Apple a synchronisé la validation des modules cryptographiques logiciels avec les systèmes d’exploitation sortis en 2017 (iOS 11, macOS 10.13, tvOS 11 et watchOS 4). Le module cryptographique matériel du SEP détecté comme le module cryptographique de la gestion des clés de protection par le SEP Apple v1.0 a été initialement validé par rapport aux exigences du niveau de sécurité 1 de la norme FIPS 140-2. En 2019, Apple a validé le module matériel par rapport aux exigences de la norme FIPS 140-2 de niveau de sécurité 2 et a mis à jour l’identifiant de version du module vers la version 9.0 afin de se synchroniser avec les versions de validation des modules utilisateur Corecrypto et des modules noyau Corecrypto correspondants. En 2019, ces versions comprenaient iOS 12, macOS 10.14, tvOS 12 et watchOS 5. Depuis 2020, Apple poursuit ses efforts de validation pour se conformer à la norme FIPS 140-3, et pour obtenir une assurance supplémentaire du niveau de sécurité 3 pour les exigences en matière de sécurité physique des puces Apple A13, A14, S6 et M1. Apple participe aussi activement à la validation du module utilisateur Corecrypto et du module noyau Corecrypto pour chaque version majeure d’un système d’exploitation. La validation de la conformité est possible uniquement pour une version finale publiée. Certifications de sécurité et centre de conformité 11 État de la validation des modules cryptographiques Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement. Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications FIPS 140-3 État actuel Le tableau ci-dessous indique les modules cryptographiques de 2020 et de 2021 actuellement testés par le laboratoire pour vérifier leur conformité avec la norme FIPS 140-3. Les tests des modules de la gestion des clés de protection (Secure Key Store; SKS) associés aux versions des systèmes d’exploitation de 2020 et 2021 sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement et une fois validés, ils seront déplacés vers la liste des modules cryptographiques validés. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection d’iOS 15 (2021) sont en cours. Ils figurent sur la liste des implémentations à l’essai. Certifications de sécurité et centre de conformité 12 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec les versions 2021 d’iOS, d’iPadOS, de macOS, de tvOS et de watchOS Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, T2, M1, S3-S6) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec les versions 2021 d’iOS, d’iPadOS, de macOS, de tvOS et de watchOS Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A13, A14, S6, M1) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec les versions 2020 d’iOS, d’iPadOS, de macOS, de tvOS et de watchOS Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, T2, M1, S3-S6) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec les versions 2020 d’iOS, d’iPadOS, de macOS, de tvOS et de watchOS Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A13, A14, S6, M1) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Certifications de sécurité et centre de conformité 13 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques testés par le laboratoire pour vérifier leur conformité avec la norme FIPS 140-2. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v10.0 Système d’exploitation : sepOS sous macOS 10.15 Catalina Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS sous macOS 10.14 Mojave Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2019-09-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS sous macOS 10.13 High Sierra Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 14 Certifications des critères communs (CC) Apple participe activement aux évaluations des critères communs dont les profils de protection couvrent la fonctionnalité de sécurité des technologies Apple. État des certifications des critères communs Le schéma américain, qui relève du NIAP, tient à jour une liste des produits en évaluation. Cette liste comprend les produits qui, d’une part, sont en cours d’évaluation aux ÉtatsUnis avec un laboratoire d’essais selon les critères communs (Common Criteria Testing Laboratory, CCTL) approuvé par le NIAP, et qui, d’autre part, ont fait l’objet d’une réunion d’évaluation préliminaire (ou l’équivalent) où la direction du schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS) les a officiellement acceptés pour évaluation. Après la certification des produits, le NIAP répertorie les certifications valides sur la liste des produits conformes. Au bout de deux ans, ces certifications sont examinées pour vérifier leur conformité avec la politique de maintien de l’assurance actuelle. À l’expiration du maintien de l’assurance, le NIAP fait passer la certification sur sa liste des produits archivés. Le portail des critères communs répertorie les certifications qui peuvent être mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC). Le portail des CC peut laisser les produits sur la liste des produits certifiés pendant cinq ans. Il tient des dossiers sur les certifications archivées. Le tableau ci-dessous indique les certifications en cours d’évaluation par un laboratoire, ou celles dont on a confirmé la conformité avec les critères communs. Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : sepOS Date de certification : — ID du schéma : Pas encore certifié Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Secure Enclave d’Apple [2020] Profils de protection : CPP_DSC_V1.0 Matériel : Secure Enclave (A9-A14, M1, T2, S3-S6) Logiciel : sepOS distribué avec iOS 14, iPadOS 14, macOS 11 Big Sur, tvOS 14 et watchOS 7 Certifications supplémentaires Le tableau ci-dessous présente les certifications du Secure Enclave qui ne se rapportent ni aux critères communs ni à la norme FIPS 140-3. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : 2019-12-07 au 2022-12-26 Certificats : CFNR201902910002 (République populaire de Chine : certification technologique des services financiers mobiles) Version en chinois Version en anglais Titre :Environnement d’exécution de confiance du terminal mobile Système d’exploitation : iOS 13.5.1 Spécification : JR/T 0156-2017 Certifications de sécurité et centre de conformité 15 Certifications de sécurité pour la puce T2 Security d’Apple Contexte de la validation des modules cryptographiques Apple participe activement à la validation de ses modules logiciels et matériels intégrés pour chaque version majeure d’un système d’exploitation. La validation de la conformité est possible uniquement pour une version finale des modules. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3 des États-Unis. En plus d’un processeur Intel, la plupart des ordinateurs Mac lancés depuis 2017 sont dotés de la puce T2 Security d’Apple, un système sur puce Apple. Ces ordinateurs Mac dotés d’une puce T2 utilisent les cinq modules cryptographiques pour de nombreux services sur l’appareil. • Module utilisateur Corecrypto pour Intel (utilisé par macOS sur les ordinateurs Mac avec processeur Intel) • Module de noyau Corecrypto pour Intel (utilisé par macOS sur les ordinateurs Mac avec processeur Intel) • Module utilisateur Corecrypto pour ARM (utilisé par la puce T2) • Module de noyau Corecrypto pour ARM (utilisé par la puce T2) • Module cryptographique de la gestion des clés de protection (utilisé par le coprocesseur Secure Enclave intégré dans la puce T2) Remarque : Les modules sur puce Apple qui fonctionnent avec la puce T2 sont les mêmes que ceux qui fonctionnent avec d’autres puces Apple, telles que les puces de la série A, de la série S et de la série M. État de la validation des modules cryptographiques Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. Certifications de sécurité et centre de conformité 16 • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. Certifications FIPS 140-3 État actuel Les tests des modules de 2020 de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de 2021 de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS sous macOS 12 Monterey Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS sous macOS 12 Monterey Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS sous macOS 12 Monterey Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (T2) Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 17 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS sous macOS 11 Big Sur Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS sous macOS 11 Big Sur Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS sous macOS 11 Big Sur sur processeur Intel Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel Niveau de sécurité : 2 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques testés par le laboratoire pour vérifier leur conformité avec la norme FIPS 140-2. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3856 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v10.0 pour ARM Système d’exploitation : sepOS sous macOS 10.15 Catalina Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3855 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour ARM Système d’exploitation : sepOS sous macOS 10.15 Catalina Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 18 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Corecrypto Apple v10.0 Système d’exploitation : sepOS sous macOS 10.15 Catalina Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-23 Certificats : 3438 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour ARM Système d’exploitation : sepOS sous macOS 10.14 Mojave Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-11 Certificats : 3433 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour ARM Système d’exploitation : sepOS sous macOS 10.14 Mojave Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS sous macOS 10.14 Mojave Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-22, 2018-07-06 Certificats : 3148 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour ARM Système d’exploitation : sepOS sous macOS 10.13 High Sierra Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-17, 2018-07-03 Certificats : 3147 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour ARM Système d’exploitation : sepOS sous macOS 10.13 High Sierra Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-07-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS sous macOS 10.13 High Sierra Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 19 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2828 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : sepOS sous macOS 10.12 Sierra Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2827 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : sepOS sous macOS 10.12 Sierra Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 20 Certifications de sécurité des systèmes d’exploitation Aperçu des certifications de sécurité des systèmes d’exploitation d’Apple Apple détient, entre autres, les certificats de validation de la conformité aux normes FIPS 140-2/-3 des États-Unis pour sepOS et le programme interne de la puce T2. Nous commençons par des éléments de structure de certification qui s’appliquent de manière générale à plusieurs plateformes au besoin. Un de ces éléments de structure est la validation de Corecrypto utilisé pour les déploiements de modules cryptographiques logiciels et matériels dans les systèmes d’exploitation développés par Apple. Un deuxième correspond à la certification du Secure Enclave intégré dans de nombreux appareils Apple. Un troisième correspond à la certification du Secure Element, qui se trouve dans les appareils Apple dotés de Touch ID et ceux dotés de Face ID. Ces éléments de structure de certification matérielle forment la base des certifications générales de sécurité des plateformes. Validation des algorithmes cryptographiques La validation de l’exactitude de l’implémentation de nombreux algorithmes cryptographiques ainsi que des fonctions de sécurité connexes est une condition préalable à la validation FIPS 140-3 et favorable à d’autres certifications. La validation est gérée par le Programme de validation des algorithmes cryptographiques (PVAC) du NIST. Les certificats de validation des implémentations d’Apple sont accessibles à l’aide de l’outil de recherche du PVAC. Certifications de sécurité et centre de conformité 21 Validation des modules cryptographiques : FIPS 140-2/3 (ISO/CEI 19790) La conformité des modules cryptographiques des systèmes d’exploitation Apple a été validée à plusieurs reprises par le Programme de validation des modules cryptographiques (PVMC) en fonction de la norme Federal Information Processing Standard (FIPS) 140-2 des États-Unis après le lancement de chaque nouvelle version des systèmes d’exploitation depuis 2012. Après chaque version majeure, Apple soumet tous les modules au PVMC aux fins de validation cryptographique intégrale. Ces modules validés fournissent des opérations cryptographiques pour les services Apple et peuvent être utilisés par des apps tierces. Apple atteint le niveau de sécurité 1 chaque année pour les modules logiciels « Corecrypto pour Intel » et « noyau Corecrypto pour Intel » pour macOS. Pour la puce Apple, les modules « Corecrypto pour ARM » et « noyau Corecrypto pour ARM » s’appliquent à iOS, iPadOS, tvOS et watchOS, et au programme interne de la puce T2 Security d’Apple intégrée dans les ordinateurs Mac. En 2019, Apple a atteint pour la première fois le niveau de sécurité 2 de la norme FIPS 140-2 pour le module matériel de cryptographie intégré « Corecrypto Apple : gestion des clés de protection », permettant ainsi l’utilisation approuvée par le gouvernement des États-Unis des clés générées et gérées dans le Secure Enclave. Apple poursuit ses efforts de validation pour le module matériel de cryptographie avec chaque nouvelle version majeure de ses systèmes d’exploitation. La norme FIPS 140-3 a été approuvée par le département du Commerce des États-Unis en 2019. La modification la plus notable apportée dans cette version est la spécification des normes ISO/CEI, notamment la norme 19790:2015 et la norme d’essai connexe 24759:2017. Le PVMC a instauré un programme de transition et signalé qu’à partir de 2020, les modules cryptographiques seront validés en fonction de la norme FIPS 140-3. Apple entend conformer ses modules cryptographiques à la norme FIPS 140-3 dans les meilleurs délais. En ce qui concerne les modules cryptographiques actuellement en phase d’essai et de validation, le PVMC tient à jour deux listes distinctes qui peuvent contenir des informations au sujet des validations proposées. Pour ce qui est des modules cryptographiques en phase d’essai dans un laboratoire agréé, le module peut figurer sur la liste des implémentations à l’essai. Une fois que le laboratoire a terminé les essais et recommande la validation par le PVMC, le module cryptographique d’Apple figure sur la liste des modules en cours de traitement. La phase d’essai du laboratoire est alors terminée et le PVMC n’a plus qu’à la valider. Étant donné que la durée du processus d’évaluation est variable, consultez les deux listes ci-dessus pour déterminer l’état de validation des modules cryptographiques d’Apple entre la date de sortie d’une version majeure du système d’exploitation et l’émission du certificat de validation par le PVMC. Certifications de sécurité et centre de conformité 22 Certifications de produit : Critères communs ISO/CEI 15408 La norme des critères communs (ISO/CEI 15408) est utilisée par de nombreuses organisations comme base pour évaluer le niveau de sécurité des produits informatiques. Pour connaître les certifications mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC), consultez le portail des critères communs. La norme des critères communs peut également être utilisée en dehors de l’ARCC, dans le cadre de schémas de validation nationaux et privés. En Europe, la reconnaissance mutuelle est régie par l’accord du SOG-IS et l’ARCC. L’objectif, énoncé par la communauté des critères communs, consiste à établir un ensemble de normes de sécurité reconnu à l’échelle internationale pour fournir une évaluation claire et fiable des capacités de sécurité des produits informatiques. En fournissant une évaluation indépendante de la capacité d’un produit à satisfaire aux normes de sécurité, la certification des critères communs donne aux clients confiance en la sécurité des produits informatiques et permet des décisions plus éclairées. En vertu de l’ARCC, les pays membres se sont entendus pour reconnaître la certification des produits informatiques avec le même degré de confiance. L’évaluation approfondie des éléments suivants est requise pour obtenir la certification : • Profils de protection (PP) • Cibles de sécurité (Security Targets, ST) • Exigences fonctionnelles de sécurité (Security Functional Requirements, SFR) • Exigences d’assurance de la sécurité (Security Assurance Requirements, SAR) • Niveaux d’assurance de l’évaluation (Evaluation Assurance Levels, EAL) Les profils de protection sont des documents qui précisent les besoins de sécurité d’une classe spécifique d’appareils, comme « Mobility » (mobilité). Ils sont utilisés pour permettre de comparer les évaluations de produits informatiques d’une même classe. L’adhésion à l’ARCC ainsi que la liste de PP continuent de croître chaque année. Cet arrangement permet au développeur de produits de prendre les mesures nécessaires pour obtenir une seule certification en vertu de n’importe lequel des schémas d’autorisation de certificat et de la faire reconnaître par n’importe lequel des signataires utilisateurs de certificats. Les cibles de sécurité définissent ce qui sera évalué lors de la certification d’un produit informatique. Elles se traduisent par des exigences fonctionnelles de sécurité plus précises, utilisées pour une évaluation plus détaillée. Les critères communs comprennent également les exigences d’assurance de la sécurité. Les niveaux d’assurance de l’évaluation sont une mesure communément établie. Ils regroupent les ensembles de SAR couramment utilisés et peuvent être spécifiés dans les PP et les ST pour soutenir la comparabilité. De nombreux PP plus anciens ont été archivés et sont remplacés par des PP ciblés en cours de développement, qui sont axés sur des solutions et des environnements précis. Dans un effort concerté pour assurer une reconnaissance mutuelle entre tous les membres de l’ARCC, des communautés techniques internationales (iTC) ont été établies pour élaborer et maintenir les profils de protection de collaboration (cPP) conçus dès le départ avec la participation des schémas des signataires de l’ARCC. Des PP ciblant les groupes d’utilisateurs ainsi que des accords de reconnaissance mutuelle autres que l’ARCC continuent d’être élaborés par les parties prenantes appropriées. Certifications de sécurité et centre de conformité 23 Apple a commencé sa quête de certifications en vertu de l’ARCC pour certains cPP au début de 2015. Depuis, elle a obtenu les certifications des critères communs pour chaque version majeure d’iOS et a élargi la couverture pour inclure l’assurance de sécurité fournie par les nouveaux PP. Apple joue un rôle actif dans les communautés techniques qui se concentrent sur l’évaluation des technologies de sécurité mobile. Cela comprend les iTC responsables de l’élaboration et de la mise à jour des cPP. Nous continuons d’évaluer et d’obtenir des certifications relativement aux PP et aux cPP actuels. Les certifications des plateformes Apple pour le marché nord-américain sont généralement réalisées avec le National Information Assurance Partnership (NIAP), qui tient à jour une liste des projets en cours d’évaluation qui n’ont pas encore été certifiés. En plus des certifications de plateformes générales indiquées, d’autres certificats ont été délivrés afin de démontrer les besoins de sécurité propres à certains marchés. Certifications de sécurité et centre de conformité 24 Certifications de sécurité pour iOS Contexte de la certification d’iOS Apple participe activement à la validation de ses modules logiciels et matériels intégrés pour chaque version majeure d’un système d’exploitation. La validation de la conformité est possible uniquement pour une version finale publiée. État de la validation des modules cryptographiques pour iOS Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications de sécurité et centre de conformité 25 Certifications FIPS 140-3 État actuel Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection d’iOS 14 (2020) sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection d’iOS 15 (2021) sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : iOS 15 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : iOS 15 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec iOS 15 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec iOS 15 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A13, A14, A15) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : iOS 14 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Certifications de sécurité et centre de conformité 26 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : iOS 14 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec iOS 14 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec iOS 14 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A13-A14) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques actuellement testés par le laboratoire ou qui l’ont été pour vérifier leur conformité avec la norme FIPS 140-2. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3856 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v10.0 pour ARM Système d’exploitation : iOS 13 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3855 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour ARM Système d’exploitation : iOS 13 Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 27 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v10.0 Système d’exploitation : sepOS distribué avec iOS 13 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-23 Certificats : 3438 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour ARM Système d’exploitation : iOS 12 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-11 Certificats : 3433 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour ARM Système d’exploitation : iOS 12 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS distribué avec iOS 12 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-22, 2018-07-06 Certificats : 3148 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour ARM Système d’exploitation : iOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-17, 2018-07-03 Certificats : 3147 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour ARM Système d’exploitation : iOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2019-09-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS distribué avec iOS 11 Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 28 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2828 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : iOS 10 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2827 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : iOS 10 Type : logiciel Niveau de sécurité : 1 Anciennes versions Les certificats datant de plus de cinq ans sont répertoriés par le PVMC avec l’état historique. Ces anciennes versions d’iOS disposaient de la validation des modules cryptographiques : • iOS 9 (modules Corecrypto v6.0) • iOS 8 (modules Corecrypto v5.0) • iOS 7 (modules Corecrypto v4.0) • iOS 6 (modules Corecrypto v3.0) Contexte de la certification des critères communs (CC) Apple participe activement à l’évaluation d’iOS pour chaque version majeure du système d’exploitation. L’évaluation ne peut être effectuée que par rapport à la version finale du système d’exploitation. Avant iPadOS 13.1, iPadOS s’appelait iOS. État des certifications des critères communs Le schéma américain, qui relève du NIAP, tient à jour une liste des produits en évaluation. Cette liste comprend les produits qui, d’une part, sont en cours d’évaluation aux ÉtatsUnis avec un laboratoire d’essais selon les critères communs (Common Criteria Testing Laboratory, CCTL) approuvé par le NIAP, et qui, d’autre part, ont fait l’objet d’une réunion d’évaluation préliminaire (ou l’équivalent) où la direction du schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS) les a officiellement acceptés pour évaluation. Après la certification des produits, le NIAP répertorie les certifications valides sur la liste des produits conformes. Au bout de deux ans, ces certifications sont examinées pour vérifier leur conformité avec la politique de maintien de l’assurance actuelle. À l’expiration du maintien de l’assurance, le NIAP fait passer la certification sur sa liste des produits archivés. Le portail des critères communs répertorie les certifications qui peuvent être mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC). Le portail des CC peut laisser les produits sur la liste des produits certifiés pendant cinq ans. Il tient des dossiers sur les certifications archivées. Certifications de sécurité et centre de conformité 29 Le tableau ci-dessous indique les certifications en cours d’évaluation par un laboratoire, ou celles dont on a confirmé la conformité avec les critères communs. État actuel Les tests de laboratoire pour les évaluations auprès du NIAP visant iOS 15 sont en cours. Pour obtenir les renseignements les plus récents, consultez la liste des produits en évaluation et la liste des produits conformes. Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : iOS 15 Date de certification : — ID du schéma : Pas encore certifié Documents : — Titre : Apple iOS 15 : iPhone Profils de protection : bases des appareils mobiles (modules PP à confirmer) Système d’exploitation : iOS 14 Date de certification : 2021-09-01 ID du schéma : 11146 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Apple iOS 14 : iPhone Profils de protection : bases des appareils mobiles, module de client VPN, module PP pour clients de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iOS 13 Date de certification : 2020-11-06 ID du schéma : 11036 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iOS 13 d’Apple sur iPhone Profils de protection : bases des appareils mobiles, module de client VPN, EP pour clients de réseau local sans fil, EP pour agent de GAM Certifications de sécurité et centre de conformité 30 Certifications archivées des critères communs pour iOS Ces anciennes versions d’iOS disposaient de la validation des critères communs. Elles sont archivées par le NIAP en fonction de sa politique : Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : iOS 12 Date de certification : 2019-03-14 ID du schéma : 10937 Documents : Cible de sécurité Guide Titre : iPhone doté d’iOS 12 Profils de protection : bases des appareils mobiles, module de client VPN, EP pour client de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iOS 11 Date de certification : 2018-07-17 ID du schéma : 10851 Documents : Cible de sécurité Guide Titre : Apple iOS 11 Profils de protection : bases des appareils mobiles, EP pour client de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iOS 10 Date de certification : 2017-07-27 ID du schéma : 10782 Documents : Cible de sécurité Guide Titre : iOS 10.2 sur les appareils iPhone et iPad Profils de protection : bases des appareils mobiles, EP pour client de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iOS 10 Date de certification : 2017-07-27 ID du schéma : 10792 Documents : Cible de sécurité Guide Titre : iOS 10.2, client VPN sur les appareils iPhone et iPad Profils de protection : Client VPN (PP) Système d’exploitation : iOS 9 Date de certification : 2016-10-14 ID du schéma : 10725 Documents : Cible de sécurité Guide Titre : iOS 9.3.2 avec agent de GMA Profils de protection : bases des appareils mobiles, EP pour agent de GAM Système d’exploitation : iOS 9 Date de certification : 2016-10-13 ID du schéma : 10714 Documents : Cible de sécurité Guide Titre : Client VPN du système d’exploitation sur iPhone et iPad Profils de protection : Client VPN (PP) Système d’exploitation : iOS 9 Date de certification : 2016-01-28 ID du schéma : 10695 Documents : Cible de sécurité Guide Titre : iOS 9 Profils de protection : bases des appareils mobiles Certifications de sécurité et centre de conformité 31 Certifications de sécurité pour iPadOS Contexte de la certification d’iPadOS Apple participe activement à la validation de ses systèmes d’exploitation pour chaque version majeure à l’aide de profils de protection de collaboration et des niveaux de sécurité conformes à la norme FIPS 140-3. La validation de la conformité est possible uniquement pour une version finale publiée. Remarque : En 2019, le système d’exploitation des appareils iPad est devenu iPadOS. Avant iPadOS 13.1, iPadOS s’appelait iOS. État de la validation des modules cryptographiques pour iPadOS Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications de sécurité et centre de conformité 32 Certifications FIPS 140-3 État actuel Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection d’iPadOS 14 (2020) sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection d’iPadOS 15 (2021) sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : iPadOS 15 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : iPadOS 15 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec iPadOS 15 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, M1) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec iPadOS 15 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, M1) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : iPadOS 14 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Certifications de sécurité et centre de conformité 33 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : iPadOS 14 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec iPadOS 14 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, M1) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec iPadOS 14 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A9-A14, M1) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques actuellement testés par le laboratoire ou qui l’ont été pour vérifier leur conformité avec la norme FIPS 140-2. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3856 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v10.0 pour ARM Système d’exploitation : iPadOS 13 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3855 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour ARM Système d’exploitation : iPadOS 13 Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 34 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Corecrypto Apple v10.0 Système d’exploitation : sepOS distribué avec iPadOS 13 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-23 Certificats : 3438 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour ARM Système d’exploitation : iOS 12 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-11 Certificats : 3433 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour ARM Système d’exploitation : iOS 12 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS distribué avec iOS 12 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-22, 2018-07-06 Certificats : 3148 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour ARM Système d’exploitation : iOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-17, 2018-07-03 Certificats : 3147 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour ARM Système d’exploitation : iOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2019-09-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS distribué avec iOS 11 Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 35 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2828 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : iOS 10 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2016 Dates de validation : 2017-02-01 Certificats : 2827 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v7.0 pour iOS Système d’exploitation : iOS 10 Type : logiciel Niveau de sécurité : 1 Anciennes versions Les certificats datant de plus de cinq ans sont répertoriés par le PVMC avec l’état historique. Ces anciennes versions d’iOS disposaient de la validation des modules cryptographiques : • iOS 9 (modules Corecrypto v6.0) • iOS 8 (modules Corecrypto v5.0) • iOS 7 (modules Corecrypto v4.0) • iOS 6 (modules Corecrypto v3.0) Contexte de la certification des critères communs (CC) Apple participe activement à l’évaluation d’iPadOS pour chaque version majeure du système d’exploitation. L’évaluation ne peut être effectuée que par rapport à la version finale du système d’exploitation. État des certifications des critères communs Le schéma américain, qui relève du NIAP, tient à jour une liste des produits en évaluation. Cette liste comprend les produits qui, d’une part, sont en cours d’évaluation aux ÉtatsUnis avec un laboratoire d’essais selon les critères communs (Common Criteria Testing Laboratory, CCTL) approuvé par le NIAP, et qui, d’autre part, ont fait l’objet d’une réunion d’évaluation préliminaire (ou l’équivalent) où la direction du schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS) les a officiellement acceptés pour évaluation. Après la certification des produits, le NIAP répertorie les certifications valides sur la liste des produits conformes. Au bout de deux ans, ces certifications sont examinées pour vérifier leur conformité avec la politique de maintien de l’assurance actuelle. À l’expiration du maintien de l’assurance, le NIAP fait passer la certification sur sa liste des produits archivés. Le portail des critères communs répertorie les certifications qui peuvent être mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC). Le portail des CC peut laisser les produits sur la liste des produits certifiés pendant cinq ans. Il tient des dossiers sur les certifications archivées. Certifications de sécurité et centre de conformité 36 Le tableau ci-dessous indique les certifications en cours d’évaluation par un laboratoire, ou celles dont on a confirmé la conformité avec les critères communs. État actuel Les tests de laboratoire pour les évaluations auprès du NIAP visant iPadOS 15 sont en cours. Pour obtenir les renseignements les plus récents, consultez la liste des produits en évaluation et la liste des produits conformes. Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : iPadOS 15 Date de certification : 2019-03-14 ID du schéma : — Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iPad doté d’iOS 12 Profils de protection : bases des appareils mobiles, module de client VPN, EP pour client de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iPadOS 14 Date de certification : 2021-09-01 ID du schéma : 11147 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Apple iPadOS 14 : iPad Profils de protection : bases des appareils mobiles, module de client VPN, EP pour client de réseau local sans fil, EP pour agent de GAM Système d’exploitation : iPadOS 13 Date de certification : 2020-11-06 ID du schéma : 11036 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iPadOS 13 sur les appareils mobiles iPad Profils de protection : bases des appareils mobiles, module de client VPN, EP pour client de réseau local sans fil, EP pour agent de GAM Certifications de sécurité et centre de conformité 37 Anciennes versions Ces anciennes versions d’iOS disposaient de la validation des critères communs. Elles sont archivées par le NIAP en fonction de sa politique : • iOS 12 (ID du schéma : 10937) • iOS 11 (ID du schéma : 10851) • iOS 10 (ID du schéma : 107782, 10792) • iOS 9 (ID du schéma : 10725, 10714, 10695) Certifications de sécurité et centre de conformité 38 Certifications de sécurité pour macOS Contexte de la certification de macOS Apple participe activement à la validation de ses systèmes d’exploitation pour chaque version majeure à l’aide de profils de protection de collaboration et des niveaux de sécurité conformes à la norme FIPS 140-3. La validation de la conformité est possible uniquement pour une version finale publiée. État de la validation des modules cryptographiques pour macOS Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications de sécurité et centre de conformité 39 Pour les ordinateurs Mac, le tableau ci-dessous indique quels modules cryptographiques s’appliquent à quelle technologie de Mac. Module cryptographique Ordinateur Mac avec puce Apple Ordinateurs Mac avec puce T2 Security d’Apple Ordinateurs Mac avec processeur Intel sans puce T2 Security d’Apple Espace utilisateur puce Apple Noyau puce Apple Espace utilisateur Intel Noyau Intel Gestion des clés de protection Certifications FIPS 140-3 En 2020, Apple a lancé des ordinateurs Mac avec puce Apple. L’applicabilité des modules cryptographiques pour les ordinateurs Mac avec puce Apple ou processeur Intel est indiquée dans la colonne « Renseignements sur le module » du tableau ci-dessous. Remarque : Les puces T2 Security d’Apple sont présentes dans de nombreux ordinateurs Mac avec processeur Intel. Pour en savoir plus sur les certifications de la puce T2, consultez Certifications de sécurité pour la puce T2 Security d’Apple. Client SSH de macOS OpenSSH peut être configuré pour l’utilisation des modules dont la conformité avec les normes FIPS 140-3 a été validée avec des algorithmes FIPS 140-3 particuliers. Les organisations peuvent exécuter un programme d’installation signé et authentifié disponible auprès d’Apple au moyen du mot de passe FIPS140Mode. Le programme d’installation insère deux fichiers sur le Mac : • fips_ssh_config : dans /private/etc/ssh/ssh_config.d/ • fips_sshd_config : dans /private/etc/ssh/sshd_config.d/ macOS utilise ensuite ces fichiers pour restreindre les codes accessibles par OpenSSH à ceux validés par le NIST et s’assure que le client OpenSSH utilise le module cryptographique validé fourni en fonction de la plateforme. Les administrateurs peuvent aussi créer leurs propres fichiers. Pour en savoir plus, consultez la page de manuel apple_ssh_and_fips sous macOS 12.0.1 ou version ultérieure. Certifications de sécurité et centre de conformité 40 État actuel Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de macOS 11 Big Sur sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de macOS 12 Monterey sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : macOS 12 Monterey sur puce Apple Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : macOS 12 Monterey sur puce Apple Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : macOS 12 Monterey sur processeur Intel Environnement : Intel, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : macOS 12 Monterey sur processeur Intel Environnement : Intel, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Systèmes d’exploitation : sepOS distribué avec macOS 12 Monterey sur puce Apple, sepOS distribué avec macOS 12 Monterey sur processeur Intel avec puce T2 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (M1 et T2) Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 41 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec macOS 12 Monterey sur puce Apple Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (M1) Niveau de sécurité : 2 Niveau de sécurité physique : 3 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : macOS 11 Big Sur sur processeur Intel Environnement : Intel, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : macOS 11 Big Sur sur processeur Intel Environnement : Intel, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : macOS 11 Big Sur sur puce Apple Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : macOS 11 Big Sur sur puce Apple Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 42 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Systèmes d’exploitation : sepOS distribué avec macOS 11 Big Sur sur puce Apple, sepOS distribué avec macOS 11 Big Sur sur processeur Intel Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (M1) Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec macOS 11 Big Sur sur puce Apple Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (M1) Niveau de sécurité : 2 Niveau de sécurité physique : 3 Certifications de sécurité et centre de conformité 43 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques actuellement testés par le laboratoire ou qui l’ont été pour vérifier leur conformité avec la norme FIPS 140-2. Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de macOS 10.15 Catalina sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Remarque : Les puces T2 Security d’Apple sont présentes dans de nombreux ordinateurs Mac avec processeur Intel. Pour en savoir plus sur les certifications de la puce T2, consultez Certifications de sécurité pour la puce T2 Security d’Apple. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-24 Certificats : 3859 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module espace utilisateur Corecrypto Apple pour Intel (ccv10) Système d’exploitation : macOS 10.15 Catalina Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-24 Certificats : 3858 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour Intel (ccv10) Système d’exploitation : macOS 10.15 Catalina Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-12 Certificats : 3402 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour Intel Système d’exploitation : macOS 10.14 Mojave Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-12 Certificats : 3431 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour Intel Système d’exploitation : macOS 10.14 Mojave Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-22 Certificats : 3155 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour Intel Système d’exploitation : macOS 10.13 High Sierra Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 44 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-22 Certificats : 3156 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour Intel Système d’exploitation : macOS 10.13 High Sierra Type : logiciel Niveau de sécurité : 1 Anciennes versions Ces anciennes versions d’OS X et de macOS disposaient de la validation des modules cryptographiques. Celles datant de plus de cinq ans sont répertoriées par le PVMC avec l’état historique : • macOS 10.12 Sierra • OS X 10.11 El Capitan • OS X 10.10 Yosemite • OS X 10.9 Mavericks • OS X 10.8 Mountain Lion • OS X 10.7 Lion • OS X 10.6 Snow Leopard Certifications de sécurité et centre de conformité 45 Contexte de la certification des critères communs (CC) Apple participe activement à l’évaluation de macOS pour chaque version majeure du système d’exploitation. L’évaluation ne peut être effectuée que par rapport à la version finale du système d’exploitation. État des certifications des critères communs Le schéma américain, qui relève du NIAP, tient à jour une liste des produits en évaluation. Cette liste comprend les produits qui, d’une part, sont en cours d’évaluation aux ÉtatsUnis avec un laboratoire d’essais selon les critères communs (Common Criteria Testing Laboratory, CCTL) approuvé par le NIAP, et qui, d’autre part, ont fait l’objet d’une réunion d’évaluation préliminaire (ou l’équivalent) où la direction du schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS) les a officiellement acceptés pour évaluation. Après la certification des produits, le NIAP répertorie les certifications valides sur la liste des produits conformes. Au bout de deux ans, ces certifications sont examinées pour vérifier leur conformité avec la politique de maintien de l’assurance actuelle. À l’expiration du maintien de l’assurance, le NIAP fait passer la certification sur sa liste des produits archivés. Le portail des critères communs répertorie les certifications qui peuvent être mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC). Le portail des CC peut laisser les produits sur la liste des produits certifiés pendant cinq ans. Il tient des dossiers sur les certifications archivées. Le tableau ci-dessous indique les certifications en cours d’évaluation par un laboratoire, ou celles dont on a confirmé la conformité avec les critères communs. État actuel Les évaluations avec le NIAP pour macOS 11 et macOS 12 utilisant les profils de protection pour système d’exploitation d’usage général et chiffrement complet du disque (AA et EE) sont en cours. Pour obtenir les renseignements les plus récents, consultez la liste des produits en évaluation et la liste des produits conformes. Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : macOS 12 Monterey Date de certification : — ID du schéma : Pas encore certifié Documents : — Titre : Apple FileVault 2 sous macOS 12 Monterey Profils de protection : CPP_FDE_AA_ V2.0E, CPP_FDE_EE_V2.0E (profils de protection à confirmer) Système d’exploitation : macOS 12 Monterey Date de certification : — ID du schéma : Pas encore certifié Documents : — Titre : macOS 12 Monterey Profils de protection : PP_OS_V4.21 (profils de protection à confirmer) Certifications de sécurité et centre de conformité 46 Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : macOS 11 Big Sur Date de certification : — ID du schéma : Pas encore certifié Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Apple FileVault 2 sous macOS 11 Big Sur Profils de protection : CPP_FDE_AA_ V2.0E, CPP_FDE_EE_V2.0E Système d’exploitation : macOS 11 Big Sur Date de certification : — ID du schéma : Pas encore certifié Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Apple macOS 11 Big Sur Profils de protection : PP_OS_V4.21 Système d’exploitation : macOS 10.15 Catalina Date de certification : 2021-04-29 ID du schéma : 11078 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : Apple FileVault 2 sur les ordinateurs dotés d’une puce T2 sous macOS 10.15 Catalina Profils de protection : CPP_FDE_AA_ V2.0E, CPP_FDE_EE_V2.0E Système d’exploitation : macOS 10.15 Catalina Date de certification : 2020-09-23 ID du schéma : 11077 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : macOS 10.15 Catalina Profils de protection : PP_OS_V4.21 Certifications de sécurité et centre de conformité 47 Certifications de sécurité pour tvOS Contexte de la certification de tvOS Apple participe activement à la validation des modules cryptographiques associés à chaque version majeure de tvOS. La validation de la conformité est possible uniquement pour une version finale publiée. État de la validation des modules cryptographiques pour tvOS Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications de sécurité et centre de conformité 48 Certifications FIPS 140-3 État actuel Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de tvOS 14 (2020) sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de tvOS 15 (2021) sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : tvOS 15 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : tvOS 15 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec tvOS 15 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A10, A12) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : tvOS 14 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : tvOS 14 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Certifications de sécurité et centre de conformité 49 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec tvOS 14 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (A10, A12) Niveau de sécurité globale : 2 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques actuellement testés par le laboratoire ou qui l’ont été pour vérifier leur conformité avec la norme FIPS 140-2. Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de tvOS 13 (2019) sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3856 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v10.0 pour ARM Système d’exploitation : tvOS 13 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-03-23 Certificats : 3855 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour ARM Système d’exploitation : tvOS 13 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v10.0 Système d’exploitation : sepOS distribué avec tvOS 13 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-23 Certificats : 3438 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour ARM Système d’exploitation : tvOS 12 Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 50 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-11 Certificats : 3433 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour ARM Système d’exploitation : tvOS 12 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS distribué avec tvOS 12 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-22, 2018-07-06 Certificats : 3148 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour ARM Système d’exploitation : tvOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-17, 2018-07-03 Certificats : 3147 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour ARM Système d’exploitation : tvOS 11 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2019-09-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS distribué avec tvOS 11 Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 51 Certifications de sécurité pour watchOS Contexte de la certification de watchOS Apple participe activement à la validation des modules cryptographiques associés à chaque version majeure de watchOS. La validation de la conformité est possible uniquement pour une version finale publiée. État de la validation des modules cryptographiques pour watchOS Le Programme de validation des modules cryptographiques (PVMC) tient à jour l’état de validation des modules cryptographiques sur trois listes distinctes, selon leur état du moment : • Pour figurer sur la liste des implémentations à l’essai du PVMC, le laboratoire doit avoir reçu d’Apple le mandat de procéder à des tests. • Lorsque les tests sont terminés, que le laboratoire a recommandé la validation par le PVMC et que les frais du PVMC ont été payés, le module est ajouté à la liste des modules en cours de traitement (MIP). Cette liste suit la progression des efforts de validation du PVMC en quatre phases : • En attente de révision : Le module attend l’assignation d’une ressource du PVMC. • En révision : Les ressources du PVMC effectuent leurs activités de validation. • Coordination : Le laboratoire et le PVMC résolvent les problèmes détectés. • Finalisation : Les activités et les formalités liées à la délivrance du certificat sont achevées. • Lorsqu’ils ont été validés par le PVMC, les modules reçoivent un certificat de conformité et sont ajoutés à la liste des modules cryptographiques validés. Parmi ceux-ci se trouvent : • les modules validés qui sont marqués comme actifs; • les modules qui, après cinq ans, sont marqués comme historiques; • si le certificat d’un module est révoqué pour une raison quelconque, ce dernier est marqué en conséquence. En 2020, le PVMC a adopté la norme internationale ISO/CEI 19790 comme base pour la norme FIPS 140-3. Certifications de sécurité et centre de conformité 52 Certifications FIPS 140-3 État actuel Les tests de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de watchOS 7 (2020) sont terminés et le laboratoire a recommandé leur validation au PVMC. Ils figurent sur la liste des modules en cours de traitement. Les tests des modules de l’espace utilisateur, de l’espace de noyau et de la gestion des clés de protection de watchOS 8 (2021) sont en cours. Ils figurent sur la liste des implémentations à l’essai. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : watchOS 8 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : watchOS 8 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec watchOS 8 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (S3, S4, S5, S6) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2021 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v12.0 Système d’exploitation : sepOS distribué avec watchOS 8 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (S6) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : watchOS 7 Environnement : puce Apple, utilisateur, logiciel Type : logiciel Niveau de sécurité globale : 1 Certifications de sécurité et centre de conformité 53 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : watchOS 7 Environnement : puce Apple, noyau, logiciel Type : logiciel Niveau de sécurité globale : 1 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec watchOS 7 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (S3, S4, S5, S6) Niveau de sécurité globale : 2 Date de lancement du système d’exploitation : 2020 Dates de validation : — Certificats : Pas encore certifié Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module Corecrypto Apple v11.1 Système d’exploitation : sepOS distribué avec watchOS 7 Environnement : puce Apple, gestion des clés de protection, matériel Type : matériel (S6) Niveau de sécurité globale : 2 Niveau de sécurité physique : 3 Certifications FIPS 140-2 Le tableau ci-dessous indique les modules cryptographiques actuellement testés par le laboratoire ou qui l’ont été pour vérifier leur conformité avec la norme FIPS 140-2. Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : — Certificats : 3856 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v10.0 pour ARM Système d’exploitation : watchOS 6 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2019 Dates de validation : — Certificats : 3855 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v10.0 pour ARM Système d’exploitation : watchOS 6 Type : logiciel Niveau de sécurité : 1 Certifications de sécurité et centre de conformité 54 Dates Certificats et documents Renseignements sur le module Date de lancement du système d’exploitation : 2019 Dates de validation : 2021-02-05 Certificats : 3811 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v10.0 Système d’exploitation : sepOS distribué avec watchOS 6 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-23 Certificats : 3438 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v9.0 pour ARM Système d’exploitation : watchOS 5 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-04-11 Certificats : 3433 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v9.0 pour ARM Système d’exploitation : watchOS 5 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2018 Dates de validation : 2019-09-10 Certificats : 3523 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v9.0 Système d’exploitation : sepOS distribué avec watchOS 5 Type : matériel Niveau de sécurité : 2 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-22, 2018-07-06 Certificats : 3148 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module utilisateur Corecrypto Apple v8.0 pour ARM Système d’exploitation : watchOS 4 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2018-03-09, 2018-05-17, 2018-07-03 Certificats : 3147 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module noyau Corecrypto Apple v8.0 pour ARM Système d’exploitation : watchOS 4 Type : logiciel Niveau de sécurité : 1 Date de lancement du système d’exploitation : 2017 Dates de validation : 2019-09-10 Certificats : 3223 Documents : Certificat Politique de sécurité Guide du rôle de responsable du chiffrement Titre : Module cryptographique pour la gestion des clés de protection Apple v1.0 Système d’exploitation : sepOS distribué avec watchOS 4 Type : matériel Niveau de sécurité : 2 Certifications de sécurité et centre de conformité 55 Certifications de sécurité des logiciels Aperçu des certifications de sécurité des logiciels Apple Apple détient, entre autres, les certificats de validation de la conformité aux normes FIPS 140-2/-3 des États-Unis pour sepOS et le programme interne de la puce T2. Nous commençons par des éléments de structure de certification qui s’appliquent de manière générale à plusieurs plateformes au besoin. Un de ces éléments de structure est la validation de Corecrypto utilisé pour les déploiements de modules cryptographiques logiciels et matériels dans les systèmes d’exploitation développés par Apple. Un deuxième correspond à la certification du Secure Enclave intégré dans de nombreux appareils Apple. Un troisième correspond à la certification du Secure Element, qui se trouve dans les appareils Apple dotés de Touch ID et ceux dotés de Face ID. Ces éléments de structure de certification matérielle forment la base des certifications générales de sécurité des plateformes. Certifications de produit : Critères communs ISO/CEI 15408 La norme des critères communs (ISO/CEI 15408) est utilisée par de nombreuses organisations comme base pour évaluer le niveau de sécurité des produits informatiques. Pour connaître les certifications mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC), consultez le portail des critères communs. La norme des critères communs peut également être utilisée en dehors de l’ARCC, dans le cadre de schémas de validation nationaux et privés. En Europe, la reconnaissance mutuelle est régie par l’accord du SOG-IS et l’ARCC. L’objectif, énoncé par la communauté des critères communs, consiste à établir un ensemble de normes de sécurité reconnu à l’échelle internationale pour fournir une évaluation claire et fiable des capacités de sécurité des produits informatiques. En fournissant une évaluation indépendante de la capacité d’un produit à satisfaire aux normes de sécurité, la certification des critères communs donne aux clients confiance en la sécurité des produits informatiques et permet des décisions plus éclairées. Certifications de sécurité et centre de conformité 56 En vertu de l’ARCC, les pays membres se sont entendus pour reconnaître la certification des produits informatiques avec le même degré de confiance. L’évaluation approfondie des éléments suivants est requise pour obtenir la certification : • Profils de protection (PP) • Cibles de sécurité (Security Targets, ST) • Exigences fonctionnelles de sécurité (Security Functional Requirements, SFR) • Exigences d’assurance de la sécurité (Security Assurance Requirements, SAR) • Niveaux d’assurance de l’évaluation (Evaluation Assurance Levels, EAL) Les profils de protection sont des documents qui précisent les besoins de sécurité d’une classe spécifique d’appareils, comme « Mobility » (mobilité). Ils sont utilisés pour permettre de comparer les évaluations de produits informatiques d’une même classe. L’adhésion à l’ARCC ainsi que la liste de PP continuent de croître chaque année. Cet arrangement permet au développeur de produits de prendre les mesures nécessaires pour obtenir une seule certification en vertu de n’importe lequel des schémas d’autorisation de certificat et de la faire reconnaître par n’importe lequel des signataires utilisateurs de certificats. Les cibles de sécurité définissent ce qui sera évalué lors de la certification d’un produit informatique. Elles se traduisent par des exigences fonctionnelles de sécurité plus précises, utilisées pour une évaluation plus détaillée. Les critères communs comprennent également les exigences d’assurance de la sécurité. Les niveaux d’assurance de l’évaluation sont une mesure communément établie. Ils regroupent les ensembles de SAR couramment utilisés et peuvent être spécifiés dans les PP et les ST pour soutenir la comparabilité. De nombreux PP plus anciens ont été archivés et sont remplacés par des PP ciblés en cours de développement, qui sont axés sur des solutions et des environnements précis. Dans un effort concerté pour assurer une reconnaissance mutuelle entre tous les membres de l’ARCC, des communautés techniques internationales (iTC) ont été établies pour élaborer et maintenir les profils de protection de collaboration (cPP) conçus dès le départ avec la participation des schémas des signataires de l’ARCC. Des PP ciblant les groupes d’utilisateurs ainsi que des accords de reconnaissance mutuelle autres que l’ARCC continuent d’être élaborés par les parties prenantes appropriées. Apple a commencé sa quête de certifications en vertu de l’ARCC pour certains cPP au début de 2015. Depuis, elle a obtenu les certifications des critères communs pour chaque version majeure d’iOS et a élargi la couverture pour inclure l’assurance de sécurité fournie par les nouveaux PP. Apple joue un rôle actif dans les communautés techniques qui se concentrent sur l’évaluation des technologies de sécurité mobile. Cela comprend les iTC responsables de l’élaboration et de la mise à jour des cPP. Nous continuons d’évaluer et d’obtenir des certifications relativement aux PP et aux cPP actuels. Les certifications des plateformes Apple pour le marché nord-américain sont généralement réalisées avec le National Information Assurance Partnership (NIAP), qui tient à jour une liste des projets en cours d’évaluation qui n’ont pas encore été certifiés. En plus des certifications de plateformes générales indiquées, d’autres certificats ont été délivrés afin de démontrer les besoins de sécurité propres à certains marchés. Certifications de sécurité et centre de conformité 57 Certifications de sécurité pour les apps Apple Contexte de la certification des apps Apple Apple participe activement à la certification de la sécurité des apps Apple à l’aide des profils de protection (PP) liés aux critères communs appropriés. Ces évaluations s’appuient sur les certifications du matériel et des systèmes d’exploitation qu’Apple a obtenues. En 2018, la société a lancé des évaluations de la sécurité des apps pour les applications clés fonctionnant sous iOS 11 avec le navigateur Safari et l’app Contacts. Elle a continué ces évaluations sur les apps fonctionnant sous iOS 12, iOS 13 et iPadOS 13.1. La couverture pour les apps sous macOS 11 est actuellement en cours d’ajout. État des certifications des modules cryptographiques Les apps Apple mentionnées ici utilisent les modules cryptographiques pour le système d’exploitation applicable. Pour en savoir plus, consultez Certifications de sécurité pour iOS, Certifications de sécurité pour iPadOS et Certifications de sécurité pour macOS. État des certifications des critères communs Le schéma américain, qui relève du NIAP, tient à jour une liste des produits en évaluation. Cette liste comprend les produits qui, d’une part, sont en cours d’évaluation aux États-Unis avec un laboratoire d’essais selon les critères communs (Common Criteria Testing Laboratory, CCTL) approuvé par le NIAP, et qui, d’autre part, ont fait l’objet d’une réunion d’évaluation préliminaire (ou l’équivalent) où la direction du schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS) les a officiellement acceptés pour évaluation. Après la certification des produits, le NIAP répertorie les certifications valides sur la liste des produits conformes. Au bout de deux ans, ces certifications sont examinées pour vérifier leur conformité avec la politique de maintien de l’assurance actuelle. À l’expiration du maintien de l’assurance, le NIAP fait passer la certification sur sa liste des produits archivés. Le portail des critères communs répertorie les certifications qui peuvent être mutuellement reconnues en vertu de l’arrangement international de reconnaissance des critères communs (ARCC). Le portail des CC peut laisser les produits sur la liste des produits certifiés pendant cinq ans. Il tient des dossiers sur les certifications archivées. Le tableau ci-dessous indique les certifications en cours d’évaluation par un laboratoire, ou celles dont on a confirmé la conformité avec les critères communs. État actuel • Les évaluations auprès du NIAP publiées comme étant en cours sont inscrites sur la liste des produits en évaluation. • Le NIAP inscrit les évaluations terminées et validées sur sa liste des produits conformes. Certifications de sécurité et centre de conformité 58 Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : macOS 11 Big Sur Date de certification : — ID du schéma : Pas encore certifié Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : macOS 11 Big Sur : Contacts Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Système d’exploitation : macOS 11 Big Sur Date de certification : — ID du schéma : Pas encore certifié Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : macOS 11 Big Sur : Safari Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Systèmes d’exploitation : iOS 14, iPadOS 14 Date de certification : 2021-08-20 ID du schéma : 11191 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iOS 14 et iPadOS 14 d’Apple : Contacts Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Systèmes d’exploitation : iOS 14, iPadOS 14 Date de certification : — ID du schéma : 11192 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iOS 14 et iPadOS 14 d’Apple : Safari Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Systèmes d’exploitation : iOS 13, iPadOS 13 Date de certification : 2020-06-05 ID du schéma : 11060 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iOS 13 et iPadOS 13 d’Apple : Safari Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Systèmes d’exploitation : iOS 13, iPadOS 13 Date de certification : 2020-06-05 ID du schéma : 11050 Documents : Certificat Cible de sécurité Guide Rapport de validation Rapport d’activité d’assurance Titre : iOS 13 et iPadOS 13 d’Apple : Contacts Profils de protection : PP pour logiciels d’application Certifications de sécurité et centre de conformité 59 Certifications des critères communs archivées pour les apps Apple Système d’exploitation et date de certification ID du schéma et documents Titre et profils de protection Système d’exploitation : iOS 12 Date de certification : 2019-06-12 ID du schéma : 10960 Documents : Cible de sécurité Guide Titre : Safari sous iOS 12 Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Système d’exploitation : iOS 12 Date de certification : 2019-02-28 ID du schéma : 10961 Documents : Cible de sécurité Guide Titre : Contacts sous iOS 12 Profils de protection : PP pour logiciels d’application Système d’exploitation : iOS 11 Date de certification : 2018-11-09 ID du schéma : 10916 Documents : Cible de sécurité Guide Titre : Safari sous iOS 11 Profils de protection : PP pour logiciels d’application, paquet étendu (Extended Package, EP) pour navigateurs Web Système d’exploitation : iOS 11 Date de certification : 2018-09-13 ID du schéma : 10915 Documents : Cible de sécurité Guide Titre : Contacts sous iOS 11 Profils de protection : PP pour logiciels d’application Certifications de sécurité et centre de conformité 60 Certifications de sécurité pour les services Internet Apple Apple dispose de certifications de conformité avec les normes ISO/CEI 27001 et ISO/CEI 27018 pour permettre à ses clients de remplir leurs obligations réglementaires et contractuelles. Ces certifications fournissent à nos clients une attestation indépendante des pratiques d’Apple relatives à la sécurité de l’information et à la confidentialité pour les systèmes concernés. Les normes ISO/CEI 27001 et ISO/CEI 27018 appartiennent à une famille de normes de systèmes de gestion de la sécurité de l’information (SGSI) publiées par l’Organisation internationale de normalisation (ISO). Pour le SGSI d’Apple, toutes les exigences de contrôle de l’annexe A sont incluses dans la déclaration d’applicabilité conformément à la définition présente dans les normes ISO/CEI 27001 et 27018. Apple fait l’objet d’une attestation indépendante délivrée annuellement par un organisme de certification agréé. Norme ISO/CEI 27001 La norme ISO/CEI 27001 concerne les SGSI et précise les exigences relatives à la création, à la mise en place, à la maintenance et à l’amélioration continue d’un SGSI au sein d’une organisation. La norme ISO/CEI 27001 comprend les domaines de sécurité suivants couverts par les certifications ISO/CEI d’Apple : • Politiques de sécurité de l’information • Organisation de la sécurité de l’information • Gestion des ressources • Sécurité des ressources humaines • Sécurité physique et environnementale • Gestion des communications et des opérations • Contrôle d’accès • Acquisition, développement et maintenance des systèmes d’information • Gestion des incidents de sécurité de l’information • Gestion de la continuité des activités • Conformité Certifications de sécurité et centre de conformité 61 Norme ISO/CEI 27018 La norme ISO/CEI 27018 est un code de pratique pour la protection des renseignements nominatifs dans les environnements infonuagiques publics. Elle comprend les domaines de sécurité suivants couverts par les certifications ISO/CEI d’Apple : • Consentement et choix • Spécification et légitimité des finalités • Limitation de collecte • Minimisation des données • Limitation d’utilisation, de conservation et de diffusion • Exactitude et qualité • Ouverture, transparence et notification • Participation et accès individuels • Responsabilité • Sécurité de l’information • Respect de la confidentialité Services Apple couverts par les normes ISO/CEI 27001 et ISO/CEI 27018 Les certifications ISO/CEI 27001 et 27018 d’Apple couvrent les services suivants : • Clavardage commercial d’Apple • Apple Business Manager • Service de notifications Push d’Apple (APN) • Apple School Manager • Claris Connect • FaceTime • FileMaker Cloud • iCloud • iMessage • Services iWork • Identifiants Apple gérés • Pour l’école • Siri Certifications de sécurité et centre de conformité 62 Certifications Les preuves de certification ISO/CEI 27001 et 27018 d’Apple sont disponibles auprès de notre organisme de certification. Pour consulter les certifications d’Apple, consultez la page Recherche de certificats et de clients dans le répertoire sur le site Web de British Standards Institution (BSI), entrez Apple dans le champ de recherche Company (Entreprise), cliquez sur le bouton Search (Rechercher), puis sélectionnez les résultats de recherche pour afficher les certificats. Remarque : Les renseignements sur les produits qui ne sont pas fabriqués par Apple ou les sites Web indépendants qui ne sont ni gérés ni vérifiés par Apple sont fournis sans recommandation ni approbation. Apple se dégage de toute responsabilité quant à la sélection, au bon fonctionnement ou à l’utilisation de sites Web ou produits de tiers. Apple n’offre aucune garantie quant à l’exactitude ou à la fiabilité des informations présentées sur les sites Web de tiers. Pour obtenir plus d’information, communiquez avec le fournisseur. Certifications de sécurité et centre de conformité 63 Projet de conformité de macOS en matière de sécurité Le projet de conformité de macOS en matière de sécurité (mSCOP, macOS Security Compliance Project) est une initiative dont le code source est libre qui consiste à adopter une approche programmatique de génération de recommandations concernant la sécurité. Il s’agit d’un projet collectif auquel participent les personnels de sécurité en TI du NIST (National Institute of Standards and Technology), de la NASA (National Aeronautics and Space Administration), de la DISA (Defense Information Systems Agency) et du LANL (Los Alamos National Laboratory) à l’échelle fédérale. Le projet utilise un ensemble de contrôles testés et validés pour macOS et met ces contrôles en correspondance avec tout guide de sécurité qu’il prend en charge. Par ailleurs, ce projet peut être utilisé pour créer facilement des références de sécurité personnalisées relatives aux contrôles de sécurité techniques en exploitant une bibliothèque d’actions atomiques testées et validées (réglages de configuration). Le projet produit des documents, des scripts, des profils de configuration et des listes d’audit personnalisés en fonction de la référence utilisée. Le mSCP peut produire du contenu utilisable conjointement avec les outils de gestion et de sécurité pour atteindre les objectifs de conformité. Les réglages de configuration dans le cadre de ce projet prennent en charge les références d’assistance suivantes : Organisation Références prises en charge Publication spéciale (SP, Special Publication) 800- 53 du NIST (National Institute of Standards and Technology) : Recommended Security Controls for Federal Information Systems and Organizations (contrôles de sécurité recommandés pour les organisations et les systèmes d’information fédéraux), révision 5 800-53 élevé, 800-53 modéré, 800-53 faible Publication spéciale (SP, Special Publication) 800- 171 du NIST (National Institute of Standards and Technology) : Protecting Controlled Unclassified Information in Nonfederal Systems and Organizations (protection des informations publiques contrôlées dans les organisations et systèmes non fédéraux), révision 2 800-171 STIG pour macOS 11 de l’Agence des systèmes d’information de la Défense (DISA, Defense Information Systems Agency), Guide d’implémentation technique de sécurité (STIG, Security Technical Implementation Guide) pour macOS 11 d’Apple STIG Comité sur les instructions des systèmes de sécurité nationale (CNSSI, Committee on National Security Systems Instruction) 1253, catégorisation de sécurité et sélection des contrôles des systèmes de sécurité nationale 1253 Certifications de sécurité et centre de conformité 64 Informations supplémentaires : • Voici une référence qui permet de réviser toutes les règles du projet. • Pour en savoir plus sur le projet et son utilisation, consultez le wiki du projet de conformité de macOS en matière de sécurité. • Pour configurer le projet pour l’utiliser, consultez : Apprendre à connaître le projet de conformité de macOS en matière de sécurité, 1re partie et Apprendre à connaître le projet de conformité de macOS en matière de sécurité, 2e partie. • Si vous souhaitez soutenir le développement du projet, consultez les conseils pour le contributeur. Certifications de sécurité et centre de conformité 65 Historique des révisions des documents Date Résumé 27 octobre 2021 Sujets mis à jour : • Certifications de sécurité pour le processeur Secure Enclave • Certifications de sécurité pour iOS • Certifications de sécurité pour macOS 17 août 2021 Sujets mis à jour : • Certifications de sécurité pour le processeur Secure Enclave • Certifications de sécurité pour la puce T2 Security d’Apple • Certifications de sécurité pour iOS • Certifications de sécurité pour iPadOS • Certifications de sécurité pour macOS • Certifications de sécurité pour tvOS • Certifications de sécurité pour watchOS • Certifications de sécurité pour les apps Apple • Certifications de sécurité • Projet de conformité de macOS en matière de sécurité Certifications de sécurité et centre de conformité 66 Date Résumé 26 avril 2021 Sujet ajouté : • Projet de conformité de macOS en matière de sécurité Sujets mis à jour : • Certifications de sécurité pour la puce T2 Security d’Apple : Nouvelles certifications FIPS 140-2, 3811 • Certifications de sécurité pour le processeur Secure Enclave : Nouvelles certifications FIPS 140-2, 3811 et nouveau tableau des certifications supplémentaires • Certifications de sécurité pour iOS : Nouvelles certifications FIPS 140-2, 3811, schéma identifiant 11146 pour iOS 14 en cours d’évaluation • Certifications de sécurité pour iPadOS : Nouvelles certifications FIPS 140-2, 3811, schéma identifiant 11147 pour iPadOS 14 en cours d’évaluation • Certifications de sécurité pour macOS : Nouvelle certification FIPS 140-2, 3811 • Certifications de sécurité pour tvOS : Nouvelles certifications FIPS 140-2, 3811 • Certifications de sécurité pour watchOS : Nouvelles certifications FIPS 140-2, 3811 • Certifications de sécurité pour les apps Apple : Mises à jour apportées à l’état des critères communs et ajout d’un tableau présentant les certifications archivées des critères communs Certifications de sécurité et centre de conformité 67 Glossaire Apple Business Manager Portail Web simple destiné aux administrateurs de TI. Il offre une façon rapide et simplifiée de déployer des appareils Apple que les organisations ont achetés directement auprès d’Apple, ou d’un revendeur ou opérateur agréé Apple participant. Les TI peuvent automatiser l’inscription des appareils à leur solution de gestion des appareils mobiles (GAM) et remettre les appareils aux utilisateurs sans avoir à les manipuler ou à les préparer. Apple School Manager Portail Web simple destiné aux administrateurs de TI. Il offre une façon rapide et simplifiée de déployer des appareils Apple que les organisations ont achetés directement auprès d’Apple, ou d’un revendeur ou opérateur agréé Apple participant. Les TI peuvent automatiser l’inscription des appareils à leur solution de gestion des appareils mobiles (GAM) et remettre les appareils aux utilisateurs sans avoir à les manipuler ou à les préparer. Arrangement de reconnaissance des critères communs (ARCC) Accord de reconnaissance mutuelle qui établit les politiques et les exigences relatives à la reconnaissance internationale des certificats délivrés conformément aux normes des critères communs ISO/CEI 15408. chiffrement complet du disque Chiffrement de l’intégralité des données d’un volume de stockage. cible de sécurité (Security Target, ST) Document qui indique les problèmes et les besoins de sécurité d’un produit particulier. client VPN IPsec Dans un profil de protection, un client qui offre une connexion sécurisée par protocole IPsec entre une plateforme hôte physique ou virtuelle et un lieu éloigné. communauté technique internationale (international Technical Community, iTC) Groupe responsable de l’élaboration des profils de protection ou des profils de protection de collaboration sous l’égide de l’Arrangement de reconnaissance des critères communs (ARCC). Corecrypto Bibliothèque qui fournit des implémentations de primitives cryptographiques de bas niveau. Il est à noter que Corecrypto n’offre pas directement d’interfaces de programmation aux développeurs. Ces derniers l’utilisent plutôt par l’intermédiaire d’interfaces de programmation d’applications (API) qui leur sont fournies. Le code source de Corecrypto est accessible au public afin de permettre la vérification de ses caractéristiques de sécurité et de son fonctionnement. critères communs (CC) Norme qui établit les concepts et les principes généraux relatifs à l’évaluation de la sécurité informatique en plus de préciser un modèle général pour l’évaluation. Elle comprend des catalogues répertoriant les exigences de sécurité dans un langage normalisé. Certifications de sécurité et centre de conformité 68 déclaration d’applicabilité Document qui décrit les contrôles de sécurité mis en œuvre dans le cadre d’un SGSI, produit pour soutenir une certification ISO/CEI 27001. gestion des appareils mobiles (GAM) Service qui permet de gérer à distance les appareils inscrits. Une fois un appareil inscrit, on peut utiliser le service de GAM sur le réseau pour configurer les réglages et accomplir d’autres tâches sur l’appareil sans interaction avec l’utilisateur. implémentation à l’essai (Implementation Under Test, IUT) Module cryptographique en cours de test par un laboratoire. module cryptographique Matériel, logiciel ou programme interne qui offre des fonctions cryptographiques et satisfait aux exigences d’une norme donnée relative aux modules cryptographiques. modules en cours de traitement (Modules in Process, MIP) Liste tenue à jour par le Programme de validation des modules cryptographiques (PVMC) répertoriant tous les modules cryptographiques actuellement soumis à son processus de validation. National Information Assurance Partnership (NIAP) Organisation du gouvernement américain responsable de la mise en application de la norme des critères communs aux États-Unis et de la gestion de son schéma d’évaluation et de validation lié aux critères communs (Common Criteria Evaluation and Validation Scheme, CCEVS). National Institute of Standards and Technology (NIST) Service du département du Commerce des États-Unis chargé de faire avancer la métrologie, y compris ses normes et ses technologies. niveaux de sécurité Les quatre niveaux de sécurité globale (1 à 4) définis par la norme ISO/CEI 19790 pour décrire des ensembles des besoins de sécurité applicables, le niveau 4 étant le plus strict. norme FIPS (Federal Information Processing Standard) Publications conçues par le National Institute of Standards and Technology lorsque la loi l’exige ou que des exigences du gouvernement fédéral en matière de cybersécurité le justifient. processeur Secure Enclave (Secure Enclave Processor, SEP) Coprocesseur fabriqué à l’intérieur d’un système sur puce. profil de protection (PP) Document qui indique les problèmes et les besoins de sécurité d’une classe de produits spécifique. profil de protection de collaboration (collaborative Protection Profile, cPP) Profil de protection conçu par une communauté technique internationale regroupant des experts chargés de la création des cPP. Programme de validation des algorithmes cryptographiques (PVAC) Organisation dirigée par le NIST qui effectue des tests de validation sur les algorithmes cryptographiques approuvés (par exemple, ceux conformes aux normes FIPS et recommandés par le NIST) et leurs composants individuels. Programme de validation des modules cryptographiques (PVMC) Organisation dirigée par les gouvernements des États-Unis et du Canada pour valider la conformité avec la norme FIPS 140-3. Secure Element Puce de silicium intégrée dans de nombreux appareils Apple qui prend en charge des fonctions comme Apple Pay. Certifications de sécurité et centre de conformité 69 Senior Officials Group Information Systems Security (SOG-IS) Groupe qui gère un accord de reconnaissance mutuelle entre plusieurs nations européennes. sepOS Programme interne du Secure Enclave, qui repose sur une version personnalisée par Apple du micronoyau L4. service de notifications Push d’Apple (APN) Service mondial offert par Apple pour fournir des notifications de type Push aux appareils Apple. système de gestion de la sécurité de l’information (SGSI) Ensemble de règlements et de procédures sur la sécurité de l’information qui régit les limites d’un programme de sécurité conçu pour protéger un éventail de renseignements et de systèmes en gérant la sécurité de l’information tout au long du cycle de vie de l’information ou du système. système sur puce Circuit intégré qui incorpore divers composants dans une seule puce. T2 Puce de sécurité d’Apple présente dans certains ordinateurs Mac avec processeur Intel depuis 2017. Certifications de sécurité et centre de conformité 70 Apple Inc. © 2021 Apple Inc. Tous droits réservés. L’utilisation du logo « clavier » d’Apple (Option + Maj + K) à des fins commerciales sans le consentement préalable écrit d’Apple peut constituer une contrefaçon de marque et une concurrence déloyale en violation des lois fédérales et étatiques. Apple, le logo Apple, Apple Pay, Apple TV, Apple Watch, Face ID, FaceTime, FileVault, iMac, iMac Pro, iMessage, iPad, iPad Air, iPadOS, iPad Pro, iPhone, iPod, iPod touch, iTunes, iWork, Mac, MacBook, MacBook Pro, macOS, OS X, Safari, Siri, Touch ID, tvOS et watchOS sont des marques de commerce d’Apple Inc., déposées aux États-Unis et dans d’autres pays. iCloud est une marque de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays. iOS est une marque de commerce ou une marque de commerce déposée de Cisco aux États-Unis et dans d’autres pays; elle est utilisée sous licence. Les autres produits et dénominations sociales mentionnés ici peuvent être des marques de commerce de leurs sociétés respectives. Les caractéristiques des produits peuvent changer sans préavis. Apple One Apple Park Way Cupertino, CA 95014 USA apple.com C028-00499-B Motion 5 User Manual Copyright © 2012 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Motion software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this manual may be slightly different from what you see on your screen. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, the Apple logo, Apple TV, Finder, Final Cut, Final Cut Pro, FireWire, GarageBand, Geneva, Inkwell, iPhone, iPhoto, iPod, iTunes, iTunes Plus, Logic, Mac, Macintosh, Mac OS, MacBook, Pages, Pixlet, QuickTime, Spotlight, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. Multi-Touch, iPad, and Spotlight are trademarks of Apple Inc. iTunes Store is a service mark of Apple Inc., registered in the U.S. and other countries. Adobe, the Adobe logo, Acrobat, the Acrobat logo, Distiller, PostScript, and the PostScript logo are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Helvetica is a registered trademark of Heidelberger Druckmaschinen AG, available from Linotype Library GmbH. Java and all Java-based trademarks and logos are trademarks or registered trademarks of Sun Microsystems, Inc. in the U.S. and other countries. The YouTube logo is a trademark of Google Inc. Some images in this manual were acquired from Getty Images, Inc. All rights reserved. Audi trademarks are used with permission of Audi of America, Inc. (Closed course with drivers wearing safety equipment. Do not attempt on public roads; always obey local traffic laws.) OpenEXR Copyright 2002, Industrial Light & Magic, a division of Lucas Digital Ltd. LLC. All rights reserved. Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met: Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of Industrial Light & Magic nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. 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Apple assumes no responsibility with regard to the performance or use of these products. Preface 15 Welcome to Motion 15 About Motion 16 About the Motion Documentation 16 Additional Resources Chapter 1 17 About Motion and Motion Graphics 17 General Motion Graphics Tools 18 Tools and Techniques Specific to the Motion Application 20 About Motion Projects Chapter 2 23 The Motion Interface 24 Project Browser 25 Workspace Overview 26 File Browser 32 Library 41 Inspector 46 Toolbar 53 Timing Display 55 Canvas 80 Viewing the Canvas or Timing Pane on a Second Display 81 Project Pane 95 Timing Pane 118 HUD 121 Text Field Shortcut Menu Chapter 3 123 User Interface Controls 123 Toolbar Controls 124 Slider Controls 125 Coordinate Controls 126 Dial 127 Value Field 127 Activation Checkbox 127 Menus 129 Source Well 4 Contents 129 Color Controls 132 Gradient Controls 141 Generic Inspector Controls 142 Rasterization Indicator Chapter 4 145 Motion Menus 145 Application Menu 146 File Menu 148 Edit Menu 150 Mark Menu 152 Object Menu 155 Favorites Menu 155 View Menu 162 Share 163 Window Menu 164 Help Menu Chapter 5 165 Preferences 166 General Pane 168 Appearance Pane 170 Project Pane 172 Time Pane 173 Cache Pane 175 Canvas Pane 177 3D Pane 179 Presets Pane 181 Gestures Pane Chapter 6 183 Creating and Managing Projects 183 Creating Projects 193 Managing Projects 204 Adding Media to a Project 207 Managing Layers in a Project 211 Deleting Objects from a Project 212 Exchanging Media in a Project 213 Source Media Parameters 217 File Types Supported by Motion 225 Using Media in the Library 231 Organizing Groups and Layers in Motion 245 Customizing and Creating Templates Chapter 7 255 Basic Compositing 255 Compositing Workflow Contents 5 257 Group and Layer Order 259 Transforming Layers 263 2D Transform Tools 280 Adjusting Layer Properties in the Inspector 285 Making Clone Layers 286 Editing Opacity and Blending Parameters 309 Drop Shadows 311 Retiming 315 Expose Commands Chapter 8 317 Using the Timeline 318 About the Timeline 320 Timeline Layers List 325 Adding Objects to the Timeline Layers List 329 Adding Layers to the Track Area 335 Editing Objects in the Timeline 349 Working in the Ruler 356 Adding Markers 360 Mini-Timeline Chapter 9 363 Using Behaviors 363 Behavior Concepts 367 Browsing for Behaviors 368 Applying and Removing Behaviors 375 Modifying Behaviors 378 Working with Behaviors 383 Changing the Timing of Behaviors 390 Animating Behavior Parameters 392 Saving and Sharing Custom Behaviors 395 Basic Motion Behaviors 419 Parameter Behaviors 444 Retiming Behaviors 450 Simulation Behaviors 476 Additional Behaviors Chapter 10 477 Using Rigs 478 About Rigging and Widgets 478 How Rigging Works 479 Building a Rig 487 Managing Parameter Snapshots 491 Controlling Rigs from Parameter Animation Menus 493 Animating Widgets 493 Using Rigs in Motion 6 Contents 495 Publishing Rigs Chapter 11 497 Creating Templates for Final Cut Pro X 498 About Templates 505 Creating an Effect for Final Cut Pro X 507 Modifying a Final Cut Pro X Effect in Motion 508 Example: Modifying the Bokeh Random Effect 512 Advanced Example: Creating an SLR Effect Template Using Rigging 525 Creating a Title for Final Cut Pro X 528 Modifying a Final Cut Pro X Title in Motion 529 Creating a Transition for Final Cut Pro X 532 Modifying a Final Cut Pro X Transition in Motion 533 Example: Creating a Prism Blur Transition 536 Creating a Generator for Final Cut Pro X 538 Modifying a Final Cut Pro X Generator in Motion 539 Publishing a Standard Motion Project as a Final Cut Pro X Template 539 Using Media in Template Placeholders 541 Publishing Parameters in Templates 549 Animation and Timing in Templates 552 Working with Markers in Templates 557 Template Resolution 557 Using Masks in Templates 558 Template Files and Media Save Location 560 Adding Multiple Display Aspect Ratios to a Template 562 Tips for Creating Templates Chapter 12 565 Keyframes and Curves 566 Keyframing in Motion 570 Keyframing Methods 573 Applying Movement to an Object in the Canvas 580 Animating Using the Inspector 586 Animating Filters 588 Animating Behaviors 589 Combining Behaviors and Keyframes 590 Working with Keyframes in the Timeline 593 Animating in the Keyframe Editor 601 Filtering the Parameter List 606 Modifying Keyframes 617 Modifying Curves 627 Mini-Curve Editor 629 Animating on the Fly 631 Keyframe Thinning Contents 7 Chapter 13 635 Keying 635 About Keying 636 Using the Keyer Filter 657 Using the Luma Keyer Filter 662 Keying Refinement Filters Chapter 14 665 Working with Particles 666 About Particle Systems 667 Anatomy of a Particle System 669 Using Particle Systems 686 Creating Graphics and Animations for Particle Systems 688 The Difference Between Emitter and Particle Cell Parameters 692 Emitter and Cell Parameters 714 Animating Objects in Particle Systems 718 Viewing Animated Emitter Curves in the Keyframe Editor 719 Using Masks with Particle Systems 720 Applying Filters to Particle Systems 720 Particle System Examples 729 Saving Custom Particle Effects to the Library Chapter 15 731 Using the Replicator 732 Replicator Concepts 733 Anatomy of a Replicator 737 Getting Started with the Replicator 742 Basic Replicator Parameters in the HUD 746 Replicators and the Properties Inspector 750 Using the Replicator Onscreen Controls 753 Advanced Replicator Controls 780 Using Image and Geometry Objects 782 Using Replicators in 3D Space 784 Applying Masks to Replicators 785 Animating Replicator Parameters 786 Using the Sequence Replicator Behavior 800 Using Behaviors with Replicators 802 Applying Filters to Replicators 803 Saving Custom Replicators to the Library Chapter 16 805 Creating and Editing Text 806 About Text in Motion 806 Setting Motion Preferences for Text 807 Adding Text 819 Using Text Tools 8 Contents 820 About Fonts 823 Editing Text in the Inspector 826 Editing Text Format 827 Finding and Replacing Text 828 Text Controls in the Format Pane 828 Basic Formatting Controls 831 Text Format-Related Tasks 833 Editing Text Style 834 Text Controls in the Style Pane 842 Text Style-Related Tasks 859 Using and Creating Preset Text Styles 863 Editing Text Layout 864 Text Controls in the Layout Pane 876 Text Layout-Related Tasks 884 Text Margin and Tab-Related Tasks 886 Working with Text Glyphs 892 Adding Behaviors and Filters to Text 893 Using the Text HUD Chapter 17 897 Animating Text 898 Text Animation and Text Sequence Behaviors 900 Sequence Text Behavior 922 Scroll Text Behavior 925 Text Tracking Behavior 926 Type On Behavior 927 Preset Text Sequence Behaviors 933 Saving a Modified Text Behavior to the Library 934 Using Other Behaviors with Text 936 Using Behaviors to Animate Text in 3D 937 Animating Text with Keyframes 937 Animating with the Transform Glyph tool Chapter 18 939 Working with Generators 939 About Generators 940 Adding a Generator 941 Modifying Generators 951 Generator Parameters 974 Text Generators Chapter 19 983 Using Filters 984 About Filters 985 Browsing and Previewing Filters 986 Applying and Removing Filters Contents 9 988 Adjusting Filters 1001 Keyframing Filter Parameters 1004 Applying Behaviors to Filter Parameters 1005 Publishing Filter Parameters and Onscreen Controls 1006 Blur Filters 1018 Border Filters 1021 Color Correction Filters 1041 Distortion Filters 1066 Glow Filters 1072 Sharpen Filters 1074 Stylize Filters 1097 Tiling Filters 1104 Time Filters 1106 Video Filters Chapter 20 1109 Using Shapes, Masks, and Paint Strokes 1110 About Shapes, Masks, and Paint Strokes 1111 The Difference Between Shapes, Paint Strokes, and Masks 1112 Shape and Mask Drawing Tools 1119 Editing Shapes 1145 Adding Shapes from the Library 1145 Copying Styles Between Shapes 1146 Shape Parameters 1167 Shape Controls in the HUD 1168 Creating Illustrations Using Multiple Shapes 1170 Creating Holes and Transparency in Shapes 1171 Applying Filters to Shapes 1172 Animating Shapes 1172 Shape Behaviors 1188 Keyframing Shape Animation 1190 Saving Shapes and Shape Styles 1194 Using Masks to Create Transparency 1210 Mask Parameters 1214 Applying Image Masks to a Layer 1217 Image Mask Parameters 1218 Using Masks to Aid Keying Effects 1222 Converting Between Shapes and Masks 1224 Manipulating Alpha Channels Using Filters Chapter 21 1227 3D Compositing 1227 Real-World Coordinates 1229 3D Transform Tools 1240 3D Workspace and Views 10 Contents 1248 2D and 3D Group Intersection 1252 Cameras 1265 Lighting 1272 Shadows 1282 Reflections Chapter 22 1287 Motion Tracking 1288 About Motion Tracking 1289 How a Tracker Works 1290 Motion Tracking Behaviors 1292 Shape Track Points Behavior 1292 Track Behavior 1293 General Motion Tracking Workflow 1296 Match Move Workflows 1308 Using a Non-Match Move Four-Point Track for Corner-Pinning 1310 Stabilize Workflow 1313 Unstabilize Workflow 1314 Track Points Workflow 1318 Track Parameter Workflow 1319 Adjusting the Onscreen Trackers 1322 Strategies for Better Tracking 1339 Tracking Behavior Parameters Chapter 23 1361 Working with Audio 1361 About Audio in Motion 1362 Audio Files in Motion Projects 1370 Working with Audio Tracks 1376 Keyframing Level and Pan Changes 1377 Crossfading Audio Tracks 1377 Syncing Audio and Video Tracks 1377 Retiming Audio 1380 Using Markers with Audio 1380 Audio Behaviors 1382 Audio Parameter Behavior Chapter 24 1387 Sharing Motion Projects 1387 Share Menu 1388 Render Options for Sharing 1389 Sharing to Apple Devices 1391 Sharing to Disc or Creating a Disk Image 1394 Sharing to Email 1395 Sharing to Video Sharing Sites 1398 Exporting QuickTime, Audio, and Image Sequence Media Contents 11 1402 Exporting Frames 1402 Exporting for HTTP Live Streaming 1403 Exporting Using Compressor 1405 Background Rendering 1405 About Share Monitor Appendix A 1407 About Rasterization 1407 Groups and Rasterization 1410 Text and Rasterization 1411 Shapes and Rasterization 1411 Particles, Replicators, and Rasterization 1414 Filters and Rasterization 1416 Shadows and Rasterization Appendix B 1417 Video and File Formats 1417 Supported File Formats 1419 Popular Video Codecs for File Exchange 1421 Field Order 1422 Using Square or Nonsquare Pixels When Creating Graphics 1424 Differences in Color Between Computer and Video Graphics 1425 Using Fonts and Creating Line Art for Video 1425 Scaling Imported High-Resolution Graphics 1426 Creating Graphics for HD Projects 1426 Creating Graphics for 2K and 4K Projects Appendix C 1427 Keyboard Shortcuts 1428 Enabling Function Keys on Portable Macintosh Computers 1428 General Interface Commands 1430 Motion Menu 1430 File Menu 1431 Edit Menu 1432 Mark Menu 1433 Object Menu 1434 View Menu 1436 Share Menu 1437 Window Menu 1437 Help Menu 1438 Audio list 1438 Tools 1444 Transport Controls 1444 View Options 1446 Miscellaneous 1446 HUD 12 Contents 1447 File Browser 1447 Inspector 1448 Keyframe Editor 1448 Layers 1449 Library 1449 Media List 1450 Timeline Editing and Navigating 1451 Keyframing Commands 1452 Shape and Mask Commands 1453 Toolbar 1453 3D Commands 1454 Using the Command Editor Appendix D 1463 Using Gestures 1463 Configuring Gesture Setup 1465 Wacom Settings 1466 Using Gestures Contents 13 Motion is a behavior-driven motion graphics application that allows you to create stunning imaging effects for a wide variety of broadcast, video, and film projects. This preface covers the following: • About Motion (p. 15) • About the Motion Documentation (p. 16) • Additional Resources (p. 16) About Motion Motion lets you create sophisticated moving images and other visual effects on the fly and in real time. Simply drag one of Motion’s built-in behaviors (such as Spin or Throw) or filters (such as Glow or Strobe) onto an object in the Canvas and watch your composition spring to life—twirling, zipping across the screen, pulsing with luminescence, or any of hundreds of other effects. You can also animate the traditional way, using keyframes, but Motion behaviors give you instant feedback, so you can sit with your clients, art directors, or friends and interactively design a motion graphics project on your desktop. You want a title to fade in, do a little shimmy, and then slide out of view? Click Play, then drag the Fade, Random Motion, and Gravity behaviors onto the title in the Canvas—no preview rendering time is necessary. Whether you need simple text effects like lower-thirds and credit rolls, a complex 3D motion graphics project for a show intro or television commercial, or more advanced image manipulation techniques to stabilize footage or composite green screen effects, Motion has a flexible tool set to meet your motion graphics needs. If you use Final Cut Pro X, you can modify the Final Cut Pro preset titles, effects, and transitions in Motion. Additionally, you can use Motion to create original presets for use in Final Cut Pro, specifying which, if any, controls are exposed when the preset is applied in Final Cut Pro. When saved, these presets appear in the Final Cut Pro media browsers. 15 Welcome to Motion Preface A powerful tool in Motion called rigging lets you map multiple parameters to a single control—for example, a slider that simultaneously manipulates size, color, and rotation of text. Rigs are useful in Motion-designed Final Cut Pro templates: In addition to simplifying the workflow in template modification, rigging can be used to limit changes, ensuring that junior compositors and others in the production pipeline adhere to established specs. About the Motion Documentation The Motion 5 User Manual (this document) contains detailed information about the Motion interface, commands, and menus and gives step-by-step instructions for creating Motion projects and for accomplishing specific tasks. It is written for users of all levels of experience. Additional Resources Along with the documentation that comes with Motion, there are a variety of resources to find out more about the application. Motion Website For general information and updates as well as the latest news about Motion, go to: • http://www.apple.com/finalcutpro/motion Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage: • http://www.apple.com/support For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Motion, go to: • http://www.apple.com/support/motion To get more information on third-party tools, resources, and user groups, go to: • http://www.apple.com/finalcutpro/resources To provide comments and feedback about Motion, go to: • http://www.apple.com/feedback/motion.html 16 Preface Welcome to Motion Motion graphics are a type of visual effects work most commonly associated with title sequences and show openers, bumpers and interstitials, and interface design such as DVD menus. Motion graphics are also frequently used in technical settings for simulations of moving systems such as traffic patterns or scientific models. Sophisticated motion graphics artists often combine traditional layout and design techniques with tools borrowed from special effects work such as keying, masking, compositing, and particle systems to create dynamic moving designs. This chapter covers the following: • General Motion Graphics Tools (p. 17) • Tools and Techniques Specific to the Motion Application (p. 18) • About Motion Projects (p. 20) General Motion Graphics Tools The tools commonly used for motion graphics fall into several categories. Design Tools Graphic designers have long used software to facilitate their work. Motion has incorporated many of the most valuable features commonly found in layout and design applications, including guides, alignment aids, and direct manipulation tools for positioning, transforming, and distorting images. Motion also contains some of the most flexible and sophisticated tools for creating and handling text elements. This is important because text is such a critical component of motion graphics design. Timing Tools The principal difference between traditional design and motion graphics design is that motion graphics design is time-based. Motion graphics artists are concerned with creating a well-composed and readable layout that can be manipulated over time. Motion provides a Timeline that contains tools usually found in video editing applications, including tools for setting markers, trimming, slipping, and snapping—enabling you to compose and precisely hone the temporal aspects of a kinetic project. 17 About Motion and Motion Graphics 1 Motion also supports audio files, and includes tools for basic audio mixing, enabling you to create a soundtrack for your project and make timing decisions based upon the interplay of audio and visual elements. You can animate images, filters, behaviors, and other elements to create elegant and precise compositions. Furthermore, you can retime your footage using optical-flow technology to create special effects such as stutter and flash frames. 2D and 3D Compositing Tools Any time you have more than one image layer onscreen, you must employ some version of compositing to combine the elements. This might mean moving image layers onscreen so they don’t overlap, adjusting the layers’ opacities so they are partly visible, or incorporating blend modes that mix the overlapping images in various ways. Compositing is fundamental to motion graphics work. Fortunately, Motion makes it easier than ever before, allowing you to control layer order, lock and group layers, and apply more than 25 different blending options to create unique effects. You can also mix 2D and 3D groups in a single project, combining basic compositing techniques with complex 3D animations. Special Effects Tools You can further enhance your motion graphics projects by employing many of the same tools used in movies to combine dinosaurs with live actors, sink luxury liners in the ocean, or create space battles. Motion elegantly handles many special effects techniques, including keying (to isolate an object shot against a solid-colored background), masking (to hide wires or other objects that should not be seen in the final image), keyframing (to animate onscreen objects), and particle systems (to simulate natural phenomena such as smoke, fire, and water). Tools and Techniques Specific to the Motion Application Motion takes a fresh approach to the art of kinetic graphics creation, incorporating the latest in software design and powerful Apple hardware. Although it includes all the tools and techniques that artists rely on, Motion introduces a number of powerful features that accomplish key tasks with an ease and elegance previously unheard of in motion graphics. Additionally, Motion offers other unique features. Behaviors A set of robust tools called behaviors simplify the convoluted workflows traditionally required to create animations and physics simulations. Unlike keyframes, behaviors are interactive in real time, enabling you to adjust multiple parameters while you watch the animation or simulation play back onscreen. There are special behaviors for video retiming, motion tracking, smoothing shaky camera footage, keying, text animation, camera movement, and audio effects. 18 Chapter 1 About Motion and Motion Graphics Replicator Another tool unique to Motion, the replicator, creates customizable, kaleidoscopic patterns from copies of an image layer, yielding intricate, dazzling design effects that would take hours to build in other applications. Rigging A powerful new tool in Motion called rigging lets you manipulate multiple attributes in a composition with a single master control. Final Cut Pro X Templates Motion also lets you create effects, title, and transition templates for use in Final Cut Pro X, and when you publish the templates, you can include rigs, simplifying the task of parameter adjustment in Final Cut Pro. Heads-Up Display (HUD) A special floating window called the heads-up display (HUD), provides at-a-glance access to your most frequently used parameter controls. The HUD changes dynamically, depending on what is selected in your project. The HUD also provides access to unique visual controls for some of the behaviors. Real-Time Feedback With the right hardware configuration, most effects in Motion can be viewed in real time. This means that you can watch how the various elements of your composition interact as you modify them. Rather than making a set of assumptions and then waiting to see how they turn out, you can immediately see how your ideas work, then make adjustments on the fly. Input Devices If you have a two- or three-button mouse connected to your computer, you can right-click to access the same controls specified by the Control-click commands in the user documentation. If you are working on a MacBook or MacBook Pro, some keyboard shortcuts require you to use the Function key (Fn—next to the Control key) in conjunction with the keys specified in the user documentation. For more information about keyboard shortcuts in Motion, see Keyboard Shortcuts. If you have a Multi-Touch device, such as a Magic Mouse or trackpad, you can use various gestures for interface navigation, scrolling, frame scrubbing, and zooming. You can also use gestures to change the size of icons in the File Browser and Library. These gestures are discussed in their relative sections of the documentation. Chapter 1 About Motion and Motion Graphics 19 About Motion Projects In Motion, you create 2D or 3D motion graphics and compositing projects with imported images (such as Adobe Photoshop or Illustrator files), image sequences, QuickTime movies, and audio files, as well as with objects created in Motion. These objects include text, masks, shapes, particles, paint strokes, and so on. A Motion project is made up of groups that contain layers. All media imported into Motion, or elements created within a project (such as shapes or particles), are referred to aslayers. A layer must live in a group. The group acts as a “parent” to its layers. You can select multiple layers in a group to create a nested group. A group can be 2D or 3D. For more information on layer and group basics, see Transforming Layers. Any item in Motion can be referred to as an object, but an item that you can see in the Canvas, such as an image, shape, or text, is generally referred to as a layer. A camera, light, rig, filter, behavior, and so on is generally referred to as an object. Cameras and lights can be added to projects. When you add a camera to a project, you can switch the project to 3D mode or to remain in 2D mode (unless the project is empty or completely 2D, in which case it is switched to 3D mode). 2D groups can exist in a 3D project. A 2D group can be nested in a 3D group. A 3D group can be nested in a 2D group. When a 3D group is nested in a 2D group, the group is flattened. This means that the nested 3D group acts like a flat card and ignores the camera. In addition, the flattened group does not intersect with layers of the 2D group or other groups in the project. For more information on working in 3D, see 3D Compositing. Any transforms, filters, or behaviors applied to a group are applied to all layers in the group. If you move or apply a filter or behavior to a group, all layers in that group are affected. You can also apply filters and behaviors to individual layers in a group. A filter is a process that changes the appearance of an image. For example, a blur filter takes an input image and outputs a blurred version of that image. For more information on using filters, see Using Filters. A behavior is a process that applies a value range to an object’s parameters, creating an animation based on the affected parameters. For example, the Spin behavior rotates an object over time at a rate that you specify. For more information on using behaviors, see Using Behaviors. Groups and layers can be moved and animated by using behaviors or by setting keyframes. For information about keyframing, see Keyframes and Curves. Filters can also be animated. 20 Chapter 1 About Motion and Motion Graphics A project represents a single flow of image data built from the bottom up. In a composite with a single group, the layers in that group are stacked above one another. Filters and behaviors applied to a layer appear beneath the layer in the Layers list. The group represents the image that results from its combined layers and their applied behaviors, filters, and composite modes (blend modes). For more information on building projects, see Creating and Managing Projects. For more information on basic compositing, see Basic Compositing. In a simple example, a group contains a single image with applied color correction and blur filters (in that order). The image provides the input data to the color correction filter. The output data of the color correction is the input data for the blur filter. The group represents the result of that image data flow. Groups and layers are also stacked one above the other in a project—the output of the lower layer is the input to the layer above it in the list. When working in 3D mode, a layer that is below another layer in the Layers list can appear above that layer in the Canvas if its Z (depth) position is closer to the camera. You can force the layers to respect their order in the Layers list by selecting the Layer Order checkbox in the Group pane of the Inspector. Chapter 1 About Motion and Motion Graphics 21 This chapter introduces you to the Motion interface and describes how to use all the basic tools you need to get started. This chapter covers the following: • Project Browser (p. 24) • Workspace Overview (p. 25) • File Browser (p. 26) • Library (p. 32) • Inspector (p. 41) • Toolbar (p. 46) • Timing Display (p. 53) • Canvas (p. 55) • Viewing the Canvas or Timing Pane on a Second Display (p. 80) • Project Pane (p. 81) • Timing Pane (p. 95) • HUD (p. 118) • Text Field Shortcut Menu (p. 121) 23 The Motion Interface 2 Project Browser Unless you specify a default project in Motion Preferences, the Project Browser appears every time you open Motion or when you create a project. The Project Browser is the main portal to Motion projects: Use it to create new projects, to open recent projects or templates (including templates for Final Cut Pro X), or to create a project from a specific file. In the Project Browser, you can also search for projects based on assigned categories and themes. For more information on the Project Browser, see The Project Browser. 24 Chapter 2 The Motion Interface Workspace Overview When you open a Motion project, its workspace fills your screen. The interface is a single project window with dedicated areas that can be shown or hidden. Timing pane Canvas File Browser, Library, and Inspector Toolbar Project pane The Motion workspace contains the following major components: • File Browser, Library, and Inspector: The left side of the Motion workspace contains three panes: the File Browser, Library, and Inspector. Click the labels at the top of this area to show each pane. Use the File Browser to preview and add files to your project. Use the Library to locate and apply the effects, templates, and other content that Motion provides. Use the Inspector to modify elements in your project. For more information see File Browser, Library, and Inspector. • Toolbar: The toolbar—a horizontal gray bar spanning the center of Motion workspace—contains tools and controls for creating and editing elements in your project. The left side of the toolbar provides access to tools used to create and manipulate objects such as text, shapes, paint strokes, and masks. The center of the toolbar contains the timing display. The right side of the toolbar includes buttons to apply effects such as lights, filters, behaviors, particle systems and replicators. For more information, see Toolbar. Chapter 2 The Motion Interface 25 • Canvas: The Canvas, located in the upper-right corner of the Motion workspace, is the main work area of the interface, where you can view and manipulate elements, as well as control playback of your project. The Canvas also contains the status bar and the project view options. For more information, see Canvas. • Project pane: The Project pane, located to the left of the Canvas, contains the Layers, Media, and Audio lists, which display items in your project. Click the labels at the top of this area to show each list. The Layers list shows all objects used in your composition; the Media list shows all external images, clips, and audio files linked to your project; and the Audio list displays all audio tracks in your project. The Project pane can be hidden to maximize the Canvas working area. For more information, see Project Pane. • Timing pane: The Timing pane, located underneath the toolbar, contains three modules: the Timeline, the Audio Timeline, and the Keyframe Editor. Each module lets you see and manipulate timing aspects of a project. The Timing pane can be hidden to maximize the Canvas working area. For more information, see Timing Pane. File Browser The File Browser displays all files on your computer and networked disks. Navigating the File Browser is similar to navigating a window in the Finder. You can drag items from the File Browser to your project. The File Browser, Library, and Inspector share the same pane on the left side of the Motion workspace. To open the File Browser Do one of the following: µ Click File Browser in the top-left corner of the Motion workspace. µ Choose Window > File Browser (or press Command-1). The File Browser opens. Note: If the File Browser is open, choosing Window > File Browser (or pressing Command-1) collapses the pane containing the File Browser, Library, and Inspector, maximizing the Canvas work area. To collapse or expand the pane containing the File Browser, Library, and Inspector Do one of the following: µ With the File Browser open, choose Window > File Browser (or press Command-1). µ Click the “i” button in the lower-left corner of the Motion workspace. 26 Chapter 2 The Motion Interface File Browser Preview Area The top area of the File Browser contains a preview of the selected file. The preview area includes a visual preview and text information about the file: filename, media type, file size, and frame rate. If the file is a video or audio clip, the preview area also contains an audio mute button. Note: When displayed in the preview area, audio files contain a text description but no image preview. To play a preview of a file µ Select the file in the File Browser. If the file is a media clip, the preview starts playing. Note: If you do not want items to play automatically in the preview area when you click them, deselect the “Play items automatically on a single click” checkbox in the General pane of Motion Preferences. To pause or resume playback of a file µ Move the pointer over the visual preview, then click the Pause or Play button that appears over the thumbnail. To import a file displayed in the preview area 1 Select the file in the File Browser. 2 Click the Import button in the preview area. The file is added to the project (to the Canvas, Layers list, Timeline, and Media list). Note: For a larger preview, double-click any file listed in the File Browser. This opens a viewer window where you can preview the file at its native size. You can also Control-click a file and choose Open in QuickTime Player from the shortcut menu. Chapter 2 The Motion Interface 27 File Browser Sidebar Directly underneath the preview area is the sidebar, which contains a list of servers, drives, and folders available on your computer. Clicking a drive or folder in the sidebar displays its contents in the file stack below. Above the list of drive and folder icons in the sidebar are controls to navigate and sort the contents of the window. Forward/Back Path pop-up menu buttons Forward and Back buttons: Steps backward and forward through the folders most recently viewed. If you have a Mac with a Multi-Touch trackpad, you can also swipe left or right with three fingers to navigate up or down the folder hierarchy. Path pop-up menu (unlabeled): Displays the file system hierarchy (folders inside of folders) for the current folder. File Browser Stack Underneath the File Browser sidebar is the file stack, which displays the contents of the folder selected in the sidebar. You can scroll through long stacks using a scroll bar or with a two-finger swipe on a Multi-Touch trackpad. When you Control-click a file in the File Browser stack, shortcut menu displays the following commands: • Open in Viewer: Opens the file in a viewer window. • Open in QuickTime Player: Opens the file in a QuickTime window. • Reveal in Finder: Displays the location of the file in the Finder. • Rename: Turns the name of the file into an active text field so you can enter a new name. • Move to Trash: Moves the file into the Trash. To view the contents of a folder displayed in the file stack Do one of the following: µ Double-click the folder. µ Select the folder, then press Return. 28 Chapter 2 The Motion Interface To return to a previously viewed folder Do one of the following: µ Click the Back button beneath the preview area (to the left of the Path pop-up menu). µ Choose a folder from the Path pop-up menu beneath the preview area. µ Press Command–Up Arrow. µ Swipe left with three fingers on a Multi-Touch trackpad. Managing Files in the File Browser In the File Browser, you can rename, move, or delete files. You can also change how files are displayed. To rename a folder or file Do one of the following: µ Control-click the file or folder, then choose Rename from the shortcut menu. When the text field becomes active, enter the new name, then press Return. µ In the stack, click the name of the folder or file once to select it, then click it again to activate the text field. Enter the new name, then press Return. Warning: Renaming folders or files from the File Browser renames the item on your hard drive or networked hard disk. If projects use files from the originally named folder, Motion may list the footage as missing. To delete a folder or file Do one of the following: µ In the stack, Control-click the file, then choose Move to Trash from the shortcut menu. µ Drag the file from the stack to the Trash icon in the Dock. Warning: Deleting folders or files from the File Browser removes the files from your hard disk or networked hard disk and places the files in your Trash. To create a folder µ Click the Add button (+) in the lower-left corner of the File Browser. To move a file into a folder µ Drag the file to the folder icon. The file is moved inside that folder. Chapter 2 The Motion Interface 29 Note: Changes you make to your file structure in the Motion File Browser are reflected in the Finder. To search for a file µ Click the Search button, then enter text in the Search field. The contents of the file stack are filtered to include only files whose names contain the entered text. Note: The Search field is not available unless the Search button is selected. To clear a file search µ Click the Clear button at the right side of the Search field. Icon View and List View The file stack can be displayed in icon view or list view. Each view is useful for different situations. Icon view List view To view the File Browser in icon view µ Click the Icon View button in the lower-right corner of the File Browser. 30 Chapter 2 The Motion Interface To view the File Browser in list view µ Click the List View button in the lower-right corner of the File Browser. To change the size of the icons while in icon view µ Click the Icon Scale button in the lower-left corner of the File Browser, then drag the slider to the right to make the icons larger, or to the left to make them smaller. µ On a Multi-Touch trackpad, pinch open to make the icons larger or pinch closed to make the icons smaller. In list view, the contents of the folder appear as a series of columns at the top of the stack: Name, Date, Size, Duration, and Kind. You may need to expand the width of the File Browser, or use the scroll bar at the bottom of the stack (or a two-finger swipe on a Multi-Touch trackpad), to see all the columns. Sorting Columns When in list view, you can sort the list by any column. This can be helpful if you are looking for a specific file and you know the approximate size or modification date. To sort the File Browser list µ At the top of the stack, click the header of the column to sort. The column header is highlighted and the contents of the window are sorted by that column. Collapsing Animations Sometimes, animated sequences are delivered as a series of sequentially numbered still images. Motion can save you time by allowing you to import these sequences as a single object, with each image used as a sequential frame in a movie. To import a series of numbered still images as a single object 1 Click the “Show image sequences as collapsed” button in the lower-right corner of the File Browser. Chapter 2 The Motion Interface 31 The File Browser displays multiple items collapsed into a single object. 2 Drag the object from the File Browser to the Canvas, Layers list, Timeline, or Media list. Note: Images from digital cameras are often numbered sequentially but are not part of an animation sequence. You can turn off this option to import a single still image from a digital camera. Library The Library is similar to the File Browser, but rather than showing files on your disk, it shows effects, content, presets, fonts, music, photos, and other elements available in Motion. Library content can be expanded by adding fonts, music, or photos, as well as by saving content that you create in Motion. You can also save modified versions of existing effects (such as customized behaviors or camera animations) as custom additions to the Library. Like the File Browser, the Library is divided into three sections. The top section is the preview area; the middle section is the sidebar; and the bottom section is the file stack, where effects and other objects are displayed. The Library, File Browser, and Inspector share the same pane on the left side of the Motion workspace. To open the Library Do one of the following: µ Click Library in the top-left corner of the Motion workspace. µ Choose Window > Library (or press Command-2). The Library opens. Note: If the Library is open, choosing Window > Library (or pressing Command-2) collapses the pane containing the Library, File Browser, and Inspector, maximizing the Canvas work area. To collapse or expand the pane containing the Library, File Browser, and Inspector Do one of the following: µ With the File Browser open, choose Window > Library (or press Command-2). µ Click the “i” button in the lower-left corner of the Motion window. 32 Chapter 2 The Motion Interface Library Preview Area The preview area contains a visual thumbnail showing the multiple frames of moving footage, as well as previews of filters, behaviors, generators, particle emitters, replicators, and so on. The preview area also contains text information for the library item, such as a description of the behavior, filter, or generator. The Library preview area is almost identical to the File Browser preview area, but instead of an Import button it contains an Apply button. Note: When some particle emitters are selected in the stack, an animated preview plays in the preview area. To play a preview of an element such as a replicator µ In the Library, click the Replicators category, click a replicator subcategory, then click a replicator in the stack. The preview plays in the preview area. Note: To automatically play items selected in the File Browser or Library, choose Motion > Preferences (or press Command-Comma), then select “Play items automatically on a single click” in the File Browser & Library section of the General pane. To pause or resume preview playback µ Move the pointer over the visual preview, then click the Pause or Play button that appears over the thumbnail. Chapter 2 The Motion Interface 33 Library Sidebar Underneath the Library preview area is the sidebar, which contains a list of folders of effect types and content available in Motion. Clicking a folder in the sidebar displays its contents in the file stack below. Above the Library categories in the sidebar are several controls to navigate and sort the contents of the window. Forward/Back buttons Path pop-up menu Theme pop-up menu Forward and Back buttons: Steps backward and forward through the folders most recently viewed. These buttons work similarly to the Forward and Back buttons in a web browser. If you have a Mac with a Multi-Touch trackpad, you can also swipe left or right with three fingers to navigate up or down the folder hierarchy. Path pop-up menu (unlabeled): Displays the file system hierarchy (folders inside of folders) for the current folder. Theme pop-up menu: Lets you sort and organize Library content by theme. For more information about working with themes, see Working with Themes in the Library. Library File Stack Under the Library sidebar is the file stack, which displays the contents of the folder selected in the sidebar. You can scroll through long file stacks using the horizontal scroll bar or with a two-finger swipe on a Multi-Touch trackpad. To view the contents of a folder displayed in the file stack Do one of the following: µ Double-click the folder. µ Select the folder, then press Return. The contents of the folder replace the current file stack view. To return to a previously viewed folder Do one of the following: µ Click the Back button beneath the preview area. µ Choose a folder from the Path pop-up menu beneath the preview area. µ Press Command–Up Arrow. 34 Chapter 2 The Motion Interface µ Swipe left with three fingers on a Multi-Touch trackpad. Library Content The Library contains all effects, presets, fonts, and other content available in Motion. These items are grouped into categories listed in the left sidebar. Choose any of these items to display a list of subcategories in the right sidebar. The Library also contains two additional categories—Music and Photos—that provide quick access to your iTunes and iPhoto libraries. For information on adding Library content to your project, see Adding Library Elements to a Project. The Library contains the following categories: • Behaviors: Contains all behaviors, divided into individual subcategories. Some behaviors can only be applied to specific objects. For example, Text Animation and Text Sequence behaviors can only be applied to text objects. For more information on how to apply behaviors, see Applying Behaviors. • Filters: Contains all filter special effects, divided into individual subcategories. Third-party FxPlug filters appear in the category to which they belong. Most filters can be applied to any layer (text, images, shapes, footage, particles, and so on) or mask in your project. For more information on filters, see About Filters. • Image Units (Filters): Contains all processing plug-ins based on core image processing installed on your computer. • Generators: Contains a selection of checkerboards, noise patterns, color rays, animated text objects, and other computer-generated elements for use in your projects. For more information on generators, see About Generators. • Image Units (Generators): Contains all generators based on core image processing installed on your computer. • Particle Emitters: Contains a selection of preset particle systems organized into subcategories. For more information on particle systems presets, see Using the Particle Library. • Replicators: Contains a selection of preset replicators organized into subcategories. For more information on preset replicators, see Using the Replicator Library Presets. • Shapes: Contains a collection of preset shapes. • Gradients: Contains a selection of preset gradients that can be applied to shapes or text. • Fonts: Contains all fonts available on your system. For information on changing fonts in your project, see Changing Fonts. • Text Styles: Contains a collection of preset type styles that can be applied to text. For more information, see Using and Creating Preset Text Styles. Chapter 2 The Motion Interface 35 • Shape Styles: Contains a collection of preset shape styles that can be applied to shapes. For more information, see Using Shapes, Masks, and Paint Strokes. • Music: Allows you to browse for and import audio files from your iTunes library. The Music subcategories include the library and playlists created in iTunes. The contents of each playlist appear in the file stack. When displayed in list view, the Music category shows the Name, Artist, Album, Duration, and Size information created in iTunes. Note: Rights-protected AAC files cannot be imported into Motion and do not appear in the file stack. This includes music purchased from the iTunes Store. Video content from iTunes cannot be imported to a Motion project. • Photos: Allows you to browse for and import image files from your iPhoto library. The Photos subcategories include the library and albums created in iPhoto. The contents of each album appear in the file stack. Note: When importing a large-scale image into Motion, you can scale the image to the size of the Canvas. For more information, see Using High-Resolution Still Images. • Content: Contains elements used in the templates and other presets that ship with Motion. Use these images, text elements, patterns, and animations to create custom elements, such as particles and replicators, which can be saved to the Library for later use. • Favorites: Stores the custom versions of effects you create and save, including particle systems, customized filters, animation curves, cameras, groups, or layers. You can also add shortcuts to frequently used items. By default, this folder is empty. Note: The preview area does not display descriptions of built-in presets copied to the Favorites category. Control-click the favorite, then choose Edit Description from the shortcut menu to add a description that will appear in the preview area of the Library. • Favorites Menu: Stores custom effects that you want to appear in the Favorites menu in the menu bar. Working in the Library Although you can’t modify the effects, elements, and folders built into Motion, you can manage custom content in the Library. You can organize custom effects, elements, and folders in the Library stack in the same way you manipulate files in the Finder. You can create folders and delete certain files or folders. You can also easily create, save, and organize files and themes in the Library. To create a new folder µ Click the New Folder button (+) in the lower-left corner of the Library. 36 Chapter 2 The Motion Interface For more information on organizing custom folders and content, see Adding Content to the Library. To rename a folder or file Do one of the following: µ In the Library stack, Control-click the custom file or folder, then choose Rename from the shortcut menu. When the text field becomes active, enter a name, then press Return. µ Click the name of the folder or file once to select it, then click it again to activate the text field. Enter a name, then press Return. Warning: Renaming custom folders or files from the Library renames the item on your hard disk or networked hard disk. If projects use files from the originally named folder, Motion may list the item as missing. To delete a folder or file µ In the stack, Control-click the custom file, then choose Move to Trash from the shortcut menu. Warning: Deleting custom folders or files from the Library removes the files from your hard disk or networked hard disk and places the files in your Trash. To move a file into a folder µ Drag the file to the folder icon. The file is moved inside that folder. To search for a file µ Click the Search button, then enter text in the Search field. The contents of the file stack are filtered to include files whose names contain the entered text. Folders containing no matches are filtered out. Note: The Search field is not available unless the Search button is selected. To clear a file search µ Click the Clear button at the right side of the Search field. Note: Folders are not filtered out. Icon View and List View The Library file stack can be displayed in icon view or list view. To view the File Browser in icon view µ Click the Icon View button in the lower-right corner of the Library. To view the File Browser in list view µ Click the List View button in the lower-right corner of the Library. Chapter 2 The Motion Interface 37 To change the size of the icons while in icon view µ Click the Icon Scale button in the lower-left corner of the Library, then drag the slider to the right to make the icons larger, or to the left to make them smaller. µ On a Multi-Touch trackpad, pinch open to make the icons larger or pinch closed to make the icons smaller. Working with Themes in the Library The Library lets you create new custom themes (categories that contain effects and content), assign content to existing themes, edit how themes are displayed, remove themes, and search for themes. Library Themes and Project Browser Themes Library themes are different from Themes in the Project Browser. Project Browser themes are applied to entire Motion projects and shared between Motion 5 and Final Cut Pro X when creating templates. Library themes help you organize projects or related projects that may share elements by allowing you to label specific objects with a default theme, such as Abstract, Nature, or Sci-Fi, or to assign elements to a custom theme. For more information on creating templates for Final Cut Pro, see Creating Templates for Final Cut Pro X. To create a new custom theme 1 In the Library, below the preview area, choose New Theme from the Theme pop-up menu. 2 In the Create New Theme dialog, type a theme name, then click OK. A new theme is added to the Library. New themes appear in the Theme pop-up menu. Custom themes are saved in the “themes” document in your /Users/username/Library/Application Support/Motion/Library/ folder. To assign custom content with a theme µ Control-click a custom item in the Library stack (such as a shape saved to the Favorites folder), choose Theme from the shortcut menu, then choose a theme from the submenu. An item must be saved in the Library before you can assign the item to a theme. For more information on saving items to the Library, see Saving and Sharing Custom Library Elements. Items that can be assigned a theme include the following: • Replicators • Emitters • Shapes • Gradients • Text styles • Shape styles 38 Chapter 2 The Motion Interface • Layers or groups Note: You cannot assign a theme to behaviors, filters, fonts, images, image sequences, or movies. To sort using the Theme pop-up menu Do one of the following: µ Select a category in the Library sidebar or stack, then choose a theme from the Theme pop-up menu. µ To sort using the default themes, select the Content category, then choose an item from the Theme pop-up menu. To remove a custom theme 1 Choose the theme to remove from the Theme pop-up menu. The Remove Theme item becomes available in the Theme pop-up menu. 2 Choose Remove Theme from the Theme pop-up menu. The theme is removed from the list. Note: You can only remove custom themes. Adding Library Elements to a Project Effects and content elements can be added to a project from the Library in two ways. You can drag an element from the Library stack to your project, or you can select an element in the Library stack and then click the Apply button in the preview area. Note: To add behaviors and filters, a third option is available. You can select objects in the project and use the Add Behavior or Add Filter pop-up menus in the toolbar. You can also create custom particles and replicators (using an existing layer in your project) via the Make Particles and Replicate buttons in the toolbar. For more information on making custom particles, see Creating a Simple Custom Particle System. For more information on making custom replicators, see Creating a Simple Custom Replicator Pattern. To add a Library effect or element to a project 1 Select the layer or group (in the Canvas, Layers list, or Timeline layers list) to apply the effect or content element to. 2 Select the element in the Library. For example, click the Filters category, click a filter subcategory, then click the filter to apply from the stack. 3 Click the Apply button in the preview area. The filter is added to the layer or group in your project. If you apply an element such as a generator, the element is added to the selected group. Chapter 2 The Motion Interface 39 You can also drag an effect or element from the Library to a layer or group in the Layers list, Canvas, or Timeline. For more information about placing and reordering objects in a project, see Organizing Groups and Layers in Motion. Saving and Sharing Custom Library Elements You can save nearly any object in Motion to the Library, including animated cameras and lights, customized behaviors, filters, particle systems or replicators, shapes and text, as well as layers and groups. After an object is placed in the Library, it can be added to a project like any other element in the Library. You can save multiple objects to the Library as one file or multiple files. For example, if you create an effect using multiple filters and you want to save the cumulative effect of those filters to apply to other objects, you can save the filters as one item in the Library. Although you can save custom objects into their namesake folders, it is better to save customized objects that you use frequently to the Favorites category. Because some Motion Library categories contain numerous items, placing custom items in Favorites or Favorites Menu categories can save you search time. In the Favorites category, you can create additional folders to better organize custom items. Note: You can create folders in the built-in categories, such as the Color Correction filters subcategory; however, those folders only appear in the Library stack and not the sidebar. Folders added to the Favorites category appear in the Library sidebar. To save an object to the Library 1 Open the Library and select the Favorites, Favorites Menu, or other category. 2 Drag the customized object to save from the Layers list, Timeline, or Inspector into the stack at the bottom of the Library. Objects saved to the Favorites Menu category can be applied to objects using the Favorites menu. When you save a customized object, it is placed in the /Users/username/Library/Application Support/Motion/Library/ folder. Note: Items dragged to the wrong category are placed into their namesake categories. For example, if a custom behavior is dragged to the Filters category, it is placed in the Behaviors category and the Behaviors category becomes active. To save multiple objects to the Library 1 Open the Library and select the Favorites, Favorites Menu, or another category. 2 In the Layers list, select all objects to save, then drag them to the stack, holding down the mouse button until the drop menu appears. 3 From the drop menu, choose “All in one file” or “Multiple files.” 40 Chapter 2 The Motion Interface “All in one file” saves all the objects together, listing them as one item in the Library. “Multiple files” saves the objects as individual objects in the Library. 4 To name the files, do one of the following: • Control-click the icon in the Library stack, choose Rename from the shortcut menu, then enter a name. • Select the icon, click “Untitled,” then enter name. You can enter custom notes about a saved item in the Library. To do so, Control-click the icon, choose Edit Description from the shortcut menu, enter notes in then dialog that appears, then click OK. Inspector In Motion, you modify images, clips, and effects by adjusting parameters—numeric attributes that define each characteristic of a project. The Inspector is where you find the controls to modify parameters: sliders, dials, pop-up menus, checkboxes, and so on. (For more information on Inspector controls, see User Interface Controls.) When you select an image, clip, or effect in Motion, its parameter controls become available in the Inspector, ready for adjustment. In other words, the Inspector is contextual: what appears in the Inspector is based on the selected object. An object must be selected for its parameters to appear in the Inspector. The Inspector contains four panes, each of which displays parameter controls for the selected object. The first three panes, Properties, Behaviors, and Filters, are present for any selected object. The fourth pane, generically called the Object pane, changes its name and contents depending on the type of object selected. To open the Inspector Do one of the following: µ Click Inspector in the top-left corner of the Motion workspace. µ Choose Window > Inspector (or press Command-3). The Inspector opens. Note: If the Inspector is open, choosing Window > Inspector (or pressing Command-3) collapses the pane containing the Inspector, File Browser, and Library, maximizing the Canvas work area. To collapse or expand the pane containing the Inspector, File Browser, and Library Do one of the following: µ With the Inspector open, choose Window > Inspector (or press Command-3). µ Click the “i” button in the lower-left corner of the Motion workspace. Chapter 2 The Motion Interface 41 Some groups of parameters appear in a group that can be shown or hidden. There are two ways to show or hide the controls. To show or hide a group of controls using the Show/Hide button 1 Position the cursor at the right end of the row that contains the group name (to the left of the Reset button). 2 Click Show to display the parameters or Hide to conceal the parameters. Click to show or hide a group of controls. To show or hide a group of controls by double-clicking µ Double-click the empty space in a row that contains a group name. Double-click to show or hide the group of controls. Double-click to show or hide the group of controls. 42 Chapter 2 The Motion Interface Inspector Preview Area The preview area contains a visual preview of the object and can show the multiple frames of moving footage. The Inspector preview area is similar to the File Browser and Library preview areas, but it has no Apply or Import button. Properties This pane, also referred to as the Properties Inspector, contains controls for setting basic attributes of the selected object, such as Transform controls (position, scale, rotation, and so on), Blending controls (opacity, blend mode, and so on), Shadows controls, Four Corner controls, Crop controls, and controls for designating the object’s In and Out points. Note: Parameter controls are available in the Properties Inspector depending on the type of object selected. For example, when a 3D group is selected, the Lighting and Reflection controls appear in the pane, but the Crop, Drop Shadow, and Four Corner controls do not. When the Project object (located at the top of the Layers list) is selected, controls become available Inspector that allow you to modify the project’s background color, aspect ratio, field rendering, motion blur, reflections, and so on. For more information on project properties, see Project Properties. Behaviors This pane, also referred to as the Behaviors Inspector, contains controls for adjusting attributes of applied behaviors. If the object has no applied behaviors, the Behaviors Inspector remains empty. If the object has multiple applied behaviors, grouped controls for each behavior appear stacked in this pane, with controls for the most recently applied behavior at the top. Filters This pane, also referred to as the Filters Inspector, contains controls for adjusting attributes of applied filters. If the object has no applied filters, the Filters Inspector remains empty. If the object has multiple applied filters, grouped controls for each filter appear stacked in this pane, with controls for the most recently applied filter at the top. Chapter 2 The Motion Interface 43 Object This pane, also referred to as the Object Inspector, contains controls that vary depending on the type of object selected. The name of the pane is also context-sensitive, changing depending on the type object selected. The different Object Inspectors are described below: • Object: Appears when there is no selected object. There are no parameters in the Object pane. • Image: Appears when an image, image sequence, movie, or drop zone is selected. When media is selected, this pane contains the Drop Zone checkbox, the state of which determines whether the image selected is a drop zone target. When the checkbox is selected, additional parameters become available. For more information, see Drop Zone Parameters. • Group: Appears when a group is the selected object. The pane contains the Type parameter, which allows you to convert a group from 2D to 3D, and vice versa. A 2D group has different available parameters than a 3D group. When set to 2D, Fixed Resolution parameters become available, which allow you to manually define the size of a group. By default, Fixed Resolution is disabled, and the size of the group is determined by the layers in that group. For more information, see Fixing the Size of a Group. Note: When selected, Fixed Resolution crops the group to the size specified in the Fixed Width and Fixed Height parameters around the anchor point of the group. When set to 3D, the Flatten and Layer Order parameters become available. When the Flatten checkbox is selected, all elements in the 3D group are flattened like a card or billboard. When the Layer Order checkbox is selected, the project elements are sorted by their order in the Layers list rather than their order in Z space. For more information, see Layer Order and Depth Order. • Project: Appears when the Project object (located at the top of the Layers list) is selected and contains the Publishing and Snapshots pane. The Publishing pane lists all parameters set to be published in a template (except for filter onscreen controls). The Snapshots pane is used to create different display aspect ratios for templates. For more information on publishing and templates, see Creating Templates for Final Cut Pro X. • Camera: Appears when a camera is selected and contains controls specific to a scene camera, including angle of view and depth of field parameters. For more information on using cameras, see Cameras. • Light: Appears when a light is selected and contains controls to change the light type, color, intensity, and falloff. When the Shadows checkbox is selected, parameters become available that control the shadow cast by a Point or Spot light. For more information on working with lights and shadows, see Lighting or Shadows. 44 Chapter 2 The Motion Interface • Rig: Appears when a rig is selected and contains buttons that allow you to choose widget types to map multiple parameters to a single control. For more information on rigging, see Using Rigs. • Media: Appears when an item is selected in the Media list of the Project pane. (For more information see Project Pane.) These parameters deal mostly with attributes of the file on disk or how the file is interpreted by Motion. Because multiple project objects can reference a single media file, the pane contains a list of linked objects. Making changes in this pane affects all objects that refer to the selected media file. For more information on working with media parameters, see Source Media Parameters. • Text: Appears when text is selected and contains all controls that affect the text. The Text Inspector is divided into three panes: • Format: Contains standard controls to adjust font, size, tracking, kerning, justification, alignment, line spacing (leading), and so on. It also contains a large text-entry field where you can edit the contents of text used in your project. The Format pane also includes a pop-up menu of preset text styles. • Style: Contains controls to adjust the fill, outline, glow, and drop shadow of selected text. Each section is grouped and can be turned on or off by selecting the checkbox next to the category name. The Style pane also includes a pop-up menu of preset text styles. • Layout: Contains paragraph style controls to set text on a path, direction, rendering, how text objects are affected when behaviors are applied, and how anchor points are used. This pane also contains controls to create a type-on effect or to modify text path options. For more information on working with text parameters, see Creating and Editing Text. • Mask: Appears when a mask is selected and contains controls to change the mask’s shape, to define how multiple masks interact, to invert a mask, to smooth the shape of a mask or adjust its softness, or to change the color of the mask in the Canvas. This inspector also contains position value sliders for mask control points. For more information on working with mask attributes, see Mask Parameters. • Image Mask: Appears when an image mask is selected and contains Mask and Mask Options controls. These controls allow you to change the mask’s source, reference frame (if the source is a clip), offset, wrap mode, source channel, blend mode, and so on. For more information, see Applying Image Masks to a Layer. • Shape: Appears when a shape is selected and contains controls that affect the shape. The controls are divided into four panes: • Style: Contains controls to modify the fill and outline of a shape and the brush type of an outline or paint stroke. This pane also includes a pop-up menu of preset shape styles. Chapter 2 The Motion Interface 45 • Stroke: Contains controls for modifying paint strokes. Use these controls to set stroke color and brush scale, and to adjust opacity, spacing, width, and other parameters. • Advanced: Contains controls that allow the dabs of a paint stroke to be animated like particles. • Geometry: Contains controls that allow you to change the shape type, to close or open a shape, to smooth a shape, and to adjust the position of a shape’s control points using value sliders. For more information on working with shapes, see Using Shapes, Masks, and Paint Strokes. • Emitter: Contains controls for modifying a particle emitter, including emitter shape, space (2D or 3D), angle, and range. This pane also provides access to cell controls. For emitters with multiple cells, these controls affect all cells. For more information on using particles, see Working with Particles. • Particle Cell: Contains controls for modifying particle cells. Particle cells can only be selected in the Layers list or Timeline layers list. This pane contains controls for attributes such as birth rate, speed, angle, and color. • Replicator: Contains controls for modifying replicator attributes, including shape, space (2D or 3D), pattern, size, and cell controls. For more information on using the replicator, see Using the Replicator. • Replicator Cell: Contains controls for modifying replicator cells. Replicator cells can only be selected in the Layers list or Timeline layers list. This pane contains controls for attributes such as angle, color, and scale. • Generator: Displays the parameters and attributes of the selected generator, such as the Center, Size, and Intensity parameters of a Lens Flare generator. The parameters listed depend on the selected generator. For more information on generators, see Working with Generators. • Audio Track: Contains controls for adjusting an audio file selected in the Audio list of the Project pane or in the Audio Timeline, including level, pan, and output bus. For more information on working with audio, see Working with Audio. • Master: Contains controls for adjusting a Master audio track selected in the Audio list of the Project pane, including level, pan, and the output bus of audio tracks in the project. For more information on working with audio, see Working with Audio. Toolbar The toolbar, located in the center of the Motion workspace, provides access to the tools for manipulating objects in the Canvas, as well as controls for adding objects to a project. There are tools that transform objects in 2D or 3D space; tools that create text, shapes, and masks; buttons that add cameras, lights, and generators; pop-up menus that apply filters and behaviors to objects; and buttons that create particle systems and replicators. 46 Chapter 2 The Motion Interface Tool Groups Tools that have multiple modes or options are available in pop-up menus in the toolbar. For instance, a shape tools pop-up menu contains the Rectangle, Circle, and Line tools. Pop-up tool menus have a tiny downward arrow in the lower-right corner of the visible tool. Arrow indicates hidden tool states. The left side of the toolbar contains tools grouped into categories of use. The three tools on the far left let you modify the view and manipulation method in the Canvas. The next four tools are used to add content to a project, including text, shapes, and paint strokes. Next are the mask tools, which are contained in a pop-up menu. At the center of the toolbar is the timing display. For more information, see Timing Display. To the right of the timing display is the Show/Hide HUD button. The rest of the controls on the right side of the toolbar are used to add content and other objects to your project. The first set are object controls, used to add cameras, lights, or generator objects to a project. The group farthest to the right are effects controls to add filters, behaviors, particles, or replicators to your project. The following tables itemize each tool and control (by group) in the toolbar, from left to right. Chapter 2 The Motion Interface 47 Note: After you select an object in the Canvas and select a tool, you can switch between tools by pressing Tab. Tabbing cycles the tools from the Select/Transform tool (the default) to the 3D Transform tool, to the remaining 2D transform tools (Anchor Point tool, Drop Shadow tool, and so on). Press Shift-Tab to cycle through the tools in the reverse order. 2D Transform Tools Choose a 2D transform tool from the pop-up menu at the far-left side of the toolbar to adjust and manipulate objects in the Canvas. Click and hold the tool to select a different mode from the pop-up menu. When you choose a 2D transform tool in the toolbar and then select an object in the Canvas, onscreen controls appear. Manipulate the onscreen controls to move or transform an object in the Canvas. Description Keyboard Icon Name shortcut Selects and moves objects in the Canvas. Also scales objects (by dragging a corner point) and rotates objects (by dragging the center point). This is the default tool in the 2D transform tools pop-up menu. S (Press Tab to cycle through tools. An object must be selected before you can tab through the tools.) Select/Transform tool (arrow) Changes the point around which an object scales or rotates (by dragging the current anchor point to a new position). S (Press Tab to cycle through tools.) Anchor Point tool Changes the direction and offset of an object’s drop shadow. This tool doesn’t move the object. S (Press Tab to cycle through tools.) Drop Shadow tool Shears or distorts an object in one of two ways: by moving two adjacent corners at the same time, leaving the other two corners locked into place; or by moving a corner point, leaving the other three corners locked into place. S (Press Tab to cycle through tools.) Distort tool Hides portions of an object (by dragging the edge or corner of the object). S (Press Tab to cycle through tools.) Crop tool Modifies points and Bezier handles for masks, shapes, and motion paths. S (Press Tab to cycle through tools.) Edit Points tool Modifies the position and X, Y, or Z rotation for characters (glyphs). Becomes available when a text object is selected. S (Press Tab to cycle through tools.) Transform Glyph tool 48 Chapter 2 The Motion Interface Description Keyboard Icon Name shortcut Modifies parameters such as the amount or angle of a Directional Blur, the shape of a particle emitter, or the start and end points of a gradient. Becomes available when a specific objects are selected. S (Press Tab to cycle through tools.) Adjust Item tool 3D Transform Tool Select the 3D tool to adjust and manipulate objects in the Canvas in 3D space. Description Keyboard Icon Name shortcut Manipulates objects in 3D space (by dragging the 3D transform and rotation controls). To display rotation controls in the Canvas, press the Command key. 3D Transform Q tool View Tools Choose a view tool from the pop-up menu to pan and zoom in the Canvas. Description Keyboard Icon Name shortcut Drags the Canvas view in different directions (but never moves individual objects). To reset the pan, double-click the Pan tool (in the toolbar). To pan the Canvas without selecting the Pan tool, press the Space bar and drag in the Canvas. Pan tool H Zooms in and out in the Canvas. Click the point in the Canvas to zoom toward or away from and drag right or left. To zoom in 50 percent increments, click in the Canvas. To zoom out in 50 percent increments, press Option and click in the Canvas. To reset the zoom, double-click the Zoom tool (in the toolbar). Zoom tool Z Navigates through a 3D scene from the camera’s POV. After you select the Walk 3D View tool, use the Up Arrow, Down Arrow, Right Arrow, and Left Arrow keys to navigate. Walk 3D View None tool Shape Tools Choose a shape tool from the pop-up menu to create rectangles, circles, and lines. Description Keyboard Icon Name shortcut Creates a rectangle shape (by dragging in the Canvas). Pressing Shift while you drag constrains the layer to a square. Rectangle tool R Chapter 2 The Motion Interface 49 Description Keyboard Icon Name shortcut Creates a circle shape (click and drag in the Canvas). Pressing Shift while you drag constrains the shape to a circle. Circle tool C Creates a new line shape (by dragging in the Canvas). Pressing the Shift key while you drag constrains the line to specific angles. Line tool None Path Shape Tools Choose a path shape tool from the pop-up menu to create Bezier or B-Spline shapes. Description Keyboard Icon Name shortcut Creates a freeform shape with Bezier point vertices. Click repeatedly in the Canvas to create a shape. To close the shape, click the first point of the shape or press the C key. To create an open-ended shape, double-click the last point. (The resulting shape, although open, is filled by default.) B (Switches Bezier/B-Spline tool.) Bezier tool Creates a freeform shape with B-Spline vertices. Click repeatedly in the Canvas to create a shape. To close the shape, click the first point of the shape or press C. To create an open-ended shape, double-click the last point. (The resulting shape, although open, is filled by default.) B (Switches Bezier/B-Spline tool.) B-Spline tool Paint Stroke Tool Select the Paint Stroke tool to create paint strokes. Description Keyboard Icon Name shortcut Creates shape-based paint strokes. Click and drag in the Canvas to draw strokes. Command-drag to adjust the size of the brush stroke before you create the stroke. Paint Stroke P tool Text Tool Select the Text tool to add text to a project. Description Keyboard Icon Name shortcut Creates text and lets you edit the text of existing text layers. Click in the Canvas and begin typing. Choose the Select/Transform tool (or press Esc) to grab or move the new text layer. To change existing text, select the Text tool (in the toolbar), then click the text in the Canvas. Text tool T 50 Chapter 2 The Motion Interface Mask Tools Choose a mask tool from the pop-up menu to hide portions of a selected layer. Mask tools can only be accessed when a layer (a visible object in the Canvas, such as an image, replicator, or flattened text) or 2D group is selected. By default, the area inside the mask remains visible. For more information about masks, see Using Shapes, Masks, and Paint Strokes. Description Keyboard Icon Name shortcut Creates a rectangular mask (by dragging in the Canvas). Pressing the Shift key while you drag constrains the mask to a square. Rectangle Option-R Mask tool Creates a circular mask (by dragging in the Canvas). Pressing the Shift key while dragging constrains the mask to a circle. Circle Mask Option-C tool Creates a freeform mask in the shape you draw in the Canvas. The shape closes the mask between the first and last points. Freehand Mask None tool Creates a freeform mask with Bezier point vertices. Click repeatedly in the Canvas to create a mask shape. To close the mask, click the first point of the mask or press C. To create an open-ended mask, double-click the last point. Option-B (switches Bezier/B-Spline Mask tools) Bezier Mask tool Creates a freeform mask with B-Spline vertices. Click repeatedly in the Canvas to create a mask shape. To close the mask, click the first point of the shape or press C. To create an open-ended shape, double-click the last point. Option-B (switches Bezier/B-Spline Mask tools) B-Spline Mask tool HUD Button Click the HUD button (the first button to the right of the timing display) to show and hide the heads-up display (HUD). Icon Name Description Shows or hides the HUD, a small floating window that contains the most commonly used parameter controls of the selected object. Show/Hide HUD Object Controls Use the three object controls (to the right of the HUD button) to add cameras, lights, and generators to a project. Chapter 2 The Motion Interface 51 Icon Name Description Adds a camera to the project. When you add a camera to a 2D project, a dialog appears asking if you want to convert 2D groups to 3D groups. Although a camera can be added to a 2D project, the camera has no effect on a 2D group. New Camera Adds a light to the project. When you add a light to a 2D project, a dialog appears asking if you want to convert 2D groups to 3D groups. Although a light can be added to a 2D project, the light has no effect on a 2D group. New Light Activates a pop-up menu of generators. Choosing an item from the menu adds that generator to the project. Add a Generator Effects Controls Use the last four controls on the right side of the toolbar to apply the most common effects: filters, behaviors, particle emitters, and replicators. Because these controls apply effects to objects, they are not available unless an object is selected. Icon Name Description Activates a pop-up menu of filters. Choosing an item from the menu applies that filter to the object. Filters can only be applied to groups or layers (images, text, shapes, particle emitters, masks, replicators, generators, and so on). Filters cannot be applied to cameras, lights, behaviors, or other filters. Add Filter Activates a pop-up menu of behaviors. Choosing an item from the menu applies that behavior to the object. Behaviors can be applied to layers (images, particle emitters, and so on), groups, cameras, and lights. Add Behavior Uses the selected layer (shape, text, image, and so on) as the source for a particle cell. Make Particles Uses the selected layer (shape, text, image, and so on) as a source cell for a new replicator. Replicate 52 Chapter 2 The Motion Interface Timing Display The timing display, located in the center of the toolbar, allows you to view the current frame (or timecode number) of the playhead, or the total duration of the project. You can also use the timing display to navigate to a specific frame, move frames in small or large increments, and scrub frames. Additionally, you can modify the duration of the project. To switch between the current time (timecode or frame number) and the project duration Do one of the following: µ Click the clock icon. When the project’s duration is displayed, the clock icon looks like this: When the current time is displayed, the clock icon looks like this: µ Click the right side of the timing display (the inverted triangle) to open the pop-up menu, then choose Show Current Time or Show Project Duration. To modify the duration dynamically µ With the timing display pop-up menu set to Show Project Duration, drag over the numbers in the display, up to increase the value or down to decrease the value. To change the project to a specific duration µ Double-click in the timing display, enter a duration into the field, then press Tab or Return to confirm your entry. To switch between timecode and frame numbers µ Choose Show Frames or Show Timecode from the timing display pop-up menu (the inverted triangle). Chapter 2 The Motion Interface 53 To modify the current time dynamically µ With the timing display pop-up menu set to Show Current Time, drag over the numbers in the display, up to move the playhead forward or down to move it backward. To move the playhead to a specific time µ With the timing display pop-up menu set to Show Current Time, double-click the number display, type the desired timecode or frame number, then press Return to confirm your entry. To increase or decrease the current time one frame at a time µ With the timing display pop-up menu set to Show Current Time, press the Left Arrow key (or Page Up key) to move backward or the Right Arrow key (or Page Down key) to move forward. To change the duration in seconds, minutes, or hours 1 Ensure that the timing display pop-up menu is set to Show Project Duration. 2 Double-click the timing display, then do one of the following: • To set the duration in seconds, enter the number of seconds followed by a period. For example, to create a 10-second project, enter “10.” (10 followed by a period) in the field, then press Return. • To set the duration in minutes, enter the number of minutes followed by two periods. For example, to create a 10-minute project, enter “10..” (10 followed by two periods) in the field, then press Return. • To set the duration in hours, enter the number of hours followed by three periods. For example, to create a 1-hour project, enter “10...” (10 followed by three period) in the field, then press Return. This procedure works in timecode as well as frames. To move ahead or back in seconds, minutes, or hours 1 Ensure that the timing display pop-up menu is set to Show Current Time. 2 Double-click the timing display, then do one of the following: • To move forward in seconds, enter a plus sign (+), enter the number of seconds to move forward, then type a period. For example, to move 2 seconds ahead, enter “+2.” (a period after the number two), then press Return. To move ahead in minutes, enter two periods after the number, then press Return. To move ahead in hours, enter three periods after the number, then press return. • To move backward in seconds, enter a minus sign (–), then enter the number of seconds to move backward, and then enter a period. For example, to move 2 seconds backward, enter “–2.” in the field, then press Return. To move backward in minutes, enter two periods after the number; to move backward in hours, enter three periods after the number. 54 Chapter 2 The Motion Interface To move forward a specific number of frames µ Enter a plus sign (+) followed by the number of frames to move forward. To move backward a specific number of frames µ Enter a minus sign (–) followed by the number of frames to move backward. Counting Time Motion offers two ways of looking at the frame numbers for your project. You can view the time as incremental frames, starting at 1 or 0 and continuing indefinitely. Or you can view the time in the video-standard, eight-digit timecode system, which runs like a clock from 00:00:00:00 to 23:59:59:29. The first two digits represent hours; the second two digits represent minutes; the third two digits represent seconds; and the final two digits represent frames, as in HH:MM:SS:FF. Some timecode formats skip numbers to accommodate the inexact frame rates of certain video formats. Frames and timecode counters have specific advantages, depending on the format in which you are originating and finishing. For example, if you are designing a title sequence for a 35mm film that must be exactly 720 frames, it is easier to set counters to frames. If you are building a television spot to be transferred to videotape or broadcast, use timecode so the frame numbers correspond with the numbers on the videotape. Canvas Most of the Motion workspace is occupied by the Canvas. Similar to the document window in many other applications, the Canvas is the visual workspace where you arrange and lay out objects in your composition. Adding layers and effects to your project is as simple as dragging them from the Library or File Browser to the Canvas. Use the transport controls at the bottom of the Canvas to view your project at regular speed or frame by frame. On either side of the transport controls are buttons that show and hide panes of the interface, turn audio playback on and off, and turn full-screen mode on and off. Chapter 2 The Motion Interface 55 The mini-Timeline is above the transport controls and below the main body of the Canvas window. This control provides a view of where selected layers in the Canvas begin and end in time, allowing you to manipulate the timing of those objects. Mini-Timeline Transport controls What you see in the Canvas is what will be output when you share a project. However, this window is not only a place to view the results of your work; the Canvas is where you modify and arrange the elements of your project. You can manipulate the items in the Canvas to modify physical attributes such as position, scale, and rotation. And you can use familiar drag-and-drop techniques to apply behaviors or filters to the items in the Canvas. See Using Behaviors and Using Filters to learn more about how to use these features. To resize the Canvas Do one of the following: µ Drag the toolbar (below the Canvas) up or down to shrink or enlarge the Canvas. µ Choose Window > Hide Project Pane (or press F5). µ Choose Window > Hide Timing Pane (or press F6). µ Deselect the Show/Hide Timeline button, Show/Hide Audio Timeline button, and Show/Hide Keyframe Editor button in the lower-right corner of the Motion project window. Viewing the Canvas on a Second Display You can show the Canvas on a second display. For more information, see Viewing the Canvas or Timing Pane on a Second Display. 56 Chapter 2 The Motion Interface Status Bar The status bar at the top-left side of the Canvas provides information about the current project: dynamic tool information, color, coordinates, and frame rate. Status Bar The display of this information is controlled in the Status Bar section of the Appearance pane in Motion Preferences (type Command-Comma to open Motion Preferences). Dynamic Tool Information When you adjust an object in the Canvas using onscreen controls, the status bar displays transform information. For example, when you scale an object in the Canvas, the width and height values are displayed. To display the dynamic tool information in the status bar 1 In the Appearance pane of Motion Preferences, select the Dynamic Tool Info checkbox. 2 Adjust an object in the Canvas. The status bar displays information about adjustment as you drag in the Canvas. Color Information Some motion graphics projects require you to match or align colors in your project. The status bar can provide visual and numeric information about the color of the pixel under the pointer, as well as the value of the alpha channel. No clicking is necessary—as you move the pointer over the Canvas, the status bar updates. To display the pixel color in the status bar 1 In the Appearance pane of Motion Preferences, select the Color checkbox. 2 Choose a color format from the Display Color As pop-up menu: • RGB: The red, green, blue, and alpha components of the color are represented in values from 0–1. Super-white values can exceed the 0–1 value range. • RGB (percent): The red, green, blue, and alpha components of the color are represented in values from 1–100. • HSV: The hue is represented from 1–360, and the saturation and value (luminance) are represented in values from 1–100. 3 Move the pointer over the Canvas. The color information displayed in the status bar updates as you move the pointer. Chapter 2 The Motion Interface 57 Coordinate Information For precision placement of objects in the Canvas, it can be helpful to know the exact pixel position of the pointer. The status bar can display this information in an X and Y coordinate system (Cartesian). The center point of the Canvas is 0, 0. To display the current pointer position in the status bar µ In the Appearance pane of Motion Preferences, select the Coordinates checkbox. When you move the pointer in the Canvas, the coordinate information updates in the status bar. Frame Rate Information Part of the way Motion plays back a project in real time is by lowering the frame rate when a sequence is too complex to render at full speed. You can monitor the current frame rate—in frames per second (fps)—in the status bar. Note: The frame rate appears in the status bar the only while a project is playing. To monitor the project’s playback frame rate µ In the Appearance pane of Motion Preferences, select the “Frame rate (only during playback)” checkbox. When you play the project, the frame rate appears in the upper-left corner of the status bar. Canvas View Options This section discusses how to view the Canvas using the view options pop-up menus in the top-right corner of the Canvas. Zoom Level pop-up menu: The Zoom Level pop-up menu offers several default zoom levels. Zooming the Canvas does not change the size of the images in your project. It changes the current view of the window. You can set the view to percentages of 12, 25, 50, 100, 200, 400, 800, or 1600, or to Fit In Window. For more information on zooming in and out of the Canvas, see Canvas Zoom Level. 58 Chapter 2 The Motion Interface Channels pop-up menu (unlabeled): The Channels pop-up menu (the color spectrum icon) controls which color channels are displayed in the Canvas. Use this menu to view a single color channel in the Canvas, to examine layers’ alpha channels, or to manipulate effects that affect only a single color channel. This menu has the following options: • Color: Shows the image as it would appear on a video monitor. Visible layers appear in natural color and transparent areas reveal the background color as set in the Properties Inspector for the project. The background color is black by default. To change it, press Command-J, then choose a color from the Background Color control in the Properties Inspector. Note: The Background pop-up menu in the Properties Inspector must be set to Solid to export the background color with the project. This option creates a solid alpha channel on export (when exporting using a codec that supports alpha channels). When the Background pop-up menu is set to Transparent, the color is visible in the Canvas, but does not render as part of the alpha channel. • Transparent: Shows the background area of the Canvas as transparent. A checkerboard pattern appears by default where no images block the background. • Alpha Overlay: Displays the image in normal color, but adds a red highlight over transparent areas of the image. • RGB Only: Displays the normal mix of red, green, and blue channels but displays transparent areas (including semitransparent areas) as opaque. • Red: Displays only the red channel as a range of black to white. • Green: Displays only the green channel as a range of black to white. • Blue: Displays only the blue channel as a range of black to white. • Alpha: Displays the alpha (transparency) channel of the layers in the Canvas. • Inverted Alpha: Displays an inverted view of the alpha (transparency) channel. Render pop-up menu: The Render pop-up menu controls the quality and resolution of the Canvas display and lets you enable or disable features that can impact playback performance. When an option is active, a checkmark appears beside the menu item. If a complex project is causing your computer to play at a very low frame rate, you can make changes in this menu to reduce the strain on the processor. This frees you from waiting for the image to be rendered at full resolution each time you make an adjustment, allowing you to watch complex projects at high frame rates while you work. Note: These options are also available in the View pull-down menu (View > Resolution, Quality, or Render Options). Chapter 2 The Motion Interface 59 The Render pop-up menu displays the following options: • Dynamic: Reduces the quality of the image displayed in the Canvas during playback or scrubbing in the Timeline or mini-Timeline, allowing for faster feedback. Also reduces the quality of an image as it is modified in the Canvas. When playback or scrubbing is stopped, or the modification is completed in the Canvas, the image quality is restored (based on the Quality and Resolution settings for the project). • Full: Displays the Canvas at full resolution (Shift-Q). • Half: Displays the Canvas at half resolution. • Quarter: Displays the Canvas at one-quarter resolution. • Draft: Renders objects in the Canvas at a lower quality to allow optimal project interactivity. There is no antialiasing. • Normal: Renders objects in the Canvas at a medium quality. Shapes are antialiased, but 3D intersections are not. Floating point (32-bit) footage is truncated to 16-bit. This is the default setting. • Best: Renders objects in the Canvas at best quality, which includes higher-quality image resampling, antialiased intersections, antialiased particle edges, and sharper text. • Custom: Allows you to set additional controls to customize render quality. Choosing Custom opens the Advanced Quality Options dialog. For information on the settings in the Advanced Quality Options dialog, see Advanced Quality Settings. • Lighting: Turns the effect of lights in a project on or off. This setting does not turn off lights in the Layers list (or light scene icons), but it disables light shading effects in the Canvas. • Shadows: Turns the effect of shadows in a project on or off. • Reflections: Turns the effect of reflections in a project on or off. • Depth of Field: Turns the effect of depth of field in a project on or off. • Motion Blur: Enables/disables the preview of motion blur in the Canvas. Disabling motion blur can result in a performance improvement. Note: When creating an effect, title, transition, or generator template for use in Final Cut Pro X, the Motion Blur item in the View pop-up menu controls whether motion blur is turned on when the project is applied in Final Cut Pro. • Field Rendering: Enables/disables field rendering. Field rendering is required for smooth motion playback on many TV monitors. Field rendering nearly doubles rendering time, so disabling this item can improve performance. 60 Chapter 2 The Motion Interface Note: When creating an effect, title, transition, or generator template for use in Final Cut Pro, the Field Rendering setting in the View pop-up menu does not control whether field rendering is applied in Final Cut Pro. Rather, field rendering is controlled in the Properties Inspector for the project. (Press Command-J to open the Properties Inspector.) When Field Order is set to anything other than None, field rendering is used in Final Cut Pro, regardless of the Field Rendering status in the View pop-up menu. • Frame Blending: Enables/disables frame blending in the Canvas. Frame blending can smooth the appearance of video frames by interpolating the pixels between adjacent frames to create a smoother transition. View and Overlay pop-up menu: The View and Overlay pop-up menu provides access to the guides and controls that can be viewed in the Canvas. When an option is active, a checkmark appears beside the menu item. Note: Many of these options are also available in the View pull-down menu. The View and Overlay pop-up menu displays the following options: • Show Overlays: Turns the display of overlays in the Canvas on or off. This setting must be on to view any other overlay items (grids, guides, and so on). To turn the camera overlays on or off, use Show 3D Overlays. Note: You can also press Command-Slash (/). • Rulers: Turns display of the rulers along the edge of the Canvas on or off. You can specify where the rulers appear in the Canvas section (Alignment) of Motion Preferences. For more information on using rulers, see Canvas Rulers. Note: You can also press Command-Shift-R. • Grid: Turns a grid display on and off over the Canvas. You can set the spacing and color of the grid in the Canvas section (Alignment) of Motion Preferences. Note: You can also press Command-Apostrophe (’). • Guides: Turns display of manually created guides on and off. Guides can only be created if rulers are displayed. You can change the color of the guides in the Canvas pane (Alignment) of Motion Preferences. Note: You can also press Command-Semicolon (;). • Dynamic Guides: Turns display of automatic dynamic guides on and off. These guides appear when dragging a layer past edges of other layers when snapping is enabled (choose View > Snap). You can change the color of dynamic guides in the Canvas pane (Alignment) of Motion Preferences. Note: You can also press Command-Shift-Colon (:). • Safe Zones: Turns display of the title safe and action safe guides on and off. By default, these guides are set at 80% and 90%. You can change these settings and the color of the guides in the Canvas pane (Zones) of Motion Preferences. Note: You can also press the Apostrophe key (’). Chapter 2 The Motion Interface 61 • Film Zone: Turns display of film aspect ratio guides on and off. This can be helpful if you are creating a project for videotape to be transferred to film. You can change the size of the guides as well as their color in the Canvas pane (Zones) of Motion Preferences. Note: You can also press Shift-Quotation Mark (”). • Handles: Turns display of object handles in the Canvas on and off. Some onscreen transformations, such as resizing, require visible object handles. Handles appear only on selected objects. • Lines: Turns display of lines that outline an object on and off. Lines only appear on selected objects. • Animation Path: Turns animation paths on and off. These editable paths indicate the route along which animated objects travel. If the selected object is not positionally animated, this command does not appear to have any effect. If handles are not displayed, the path curves cannot be adjusted in the Canvas. Except for the Motion Path behavior, animation paths created by behaviors are for display only and are not editable. • Show 3D Overlays: Turns 3D overlays in the Canvas on and off, including Camera overlays, 3D View Tools, Compass, Inset View, 3D grid, and 3D scene icons. (3D overlays appear in projects that contain 3D groups.) Note: You can also press Command-Option-Slash (/). • 3D View Tools: Turns the Camera menu and 3D View tools in the Canvas on and off. Camera menu 3D View tools Scene camera Pan Dolly Orbit • Compass: Turns the 3D Compass in the Canvas on and off. Using red, green, and blue axes, the compass shows your current orientation in 3D space. The red axis is X (horizontal), the green axis is Y (vertical), and the blue axis is Z (depth). 62 Chapter 2 The Motion Interface Holding the pointer over the 3D Compass exposes color-coded shortcuts to the reference camera views. Click any colored view icon, such as Front, Left, Right, Perspective, and so on to switch to a different camera view. The Canvas animates as it changes view. For more information on working with the 3D Compass and different views, see Views. 3D Compass 3D Compass showing camera shortcuts • Inset View: Turns the Inset view in the Canvas on and off. When enabled, a temporary window appears in the lower-right corner of the Canvas displaying an Active Camera or Perspective view of the project, helping you stay oriented as you move objects in 3D space. In the 3D pane of Motion Preferences, you can change the size of the Inset view, as well as control whether the Inset view appears on transform changes, on all changes, or manually. The Perspective view changes to fit the objects in the Inset view (even if objects are no longer visible in the main window). This view is triggered when you are looking through the camera. The Active view is triggered when you use a camera view other than the active camera (such as Front). For more information on the Inset view, see Inset View. Inset view Chapter 2 The Motion Interface 63 Note: Because project elements are 2D (flat) objects, the elements are not visible when you use orthogonal camera views (Left, Right, Top, and Bottom) unless the elements are rotated in 3D space (or unless text, particles, or the replicator is using the Face Camera parameter in its Inspector). This is because orthogonal views are at right angles (perpendicular) to the elements. When an object is selected, a thin gray line represents the object in the Canvas. For more information on using cameras, see Cameras. • 3D Grid: Turns the grid in the Canvas on and off. The 3D grid helps you stay oriented and can be used to guide the placement of objects in your project. The 3D grid appears when you are in a 3D workspace. 64 Chapter 2 The Motion Interface • 3D Scene Icons: Turns the display of cameras and lights in the Canvas on or off. Scene icons appear in the Canvas as wireframe icons. Lights appear with red (X), green (Y), and blue (Z) adjust 3D handles that let you transform and rotate them. The handles are still displayed when the 3D Scene Icons command is turned off. For more information on the 3D scene icons, see 3D Scene Icons. Camera Light • Correct for Aspect Ratio: Applies an artificial distortion of the Canvas in projects with nonsquare pixels. When the setting is on, the computer monitor simulates what a TV monitor displays. When the setting is off, projects with nonsquare pixels appear stretched. This is because computer monitors have square pixels. This setting does not modify the output of the project. Chapter 2 The Motion Interface 65 • Show Full View Area: When enabled, this setting lets you see the portion of a layer that extends beyond the edge of the Canvas. This setting is disabled by default, because it slows your project’s interactivity. • Use Drop Zones: Turns drop zones on and off. When turned on, a checkmark appears next to the menu item, and drop zones accept objects dragged to them. When turned off, drop zones ignore objects dropped onto them. For more information on using drop zones, see Drop Zones. • Save View Defaults: Saves the current state of all settings in this menu as the default state for new projects. View Layouts pop-up menu: The View Layouts pop-up menu lets you specify how to view your project in the Canvas. You can view the Canvas as a single workspace or choose from available window arrangements in the menu. Note: Although the workspace views are available for 2D projects, they are most useful when working in 3D space. • Single: The default value, displays a single window in the Canvas. • Two-up, side by side: Displays two windows in the Canvas, one next to the other. • Two-up, top and bottom: Displays two windows in the Canvas, one on top of the other. • Three-up, large window below: Displays three windows, two next to each other on top and a larger window below. • Three-up, large window right: Displays three windows, two stacked on the left side and a larger window spanning the right side. 66 Chapter 2 The Motion Interface • Four-up, large window right: Displays four windows, three stacked on the left side and one larger window on the right side. • Four-up: Displays four windows, all the same size. Advanced Quality Settings When you choose Custom in the Quality section of the Render pop-up menu (or in the View > Quality menu), the Advanced Quality Options dialog appears. The Advanced Quality Options dialog provides additional controls to fine-tune rendering performance and quality. It contains the following options: Quality: Sets rendering quality. These options are identical to the Quality settings in the Render pop-up menu. For more information on the Render popup menu, see Canvas View Options. Choose one of four settings from this pop-up menu. Each setting activates different options in the dialog. • Draft: None of the quality options are selected, and Text Quality is set to Low. This option allows optimal project interactivity. • Normal: “Shape antialiasing” is selected, and Text Quality is set to Medium. This option allows project interactivity that is slower than Draft, but much faster than Best. • Best: “High quality resampling,” “Shape antialiasing,” and “Antialias 3D intersections” are selected. Text render quality is set to High. This option slows down project interactivity. • Custom: No options are selected until you select individual quality settings in the Advanced Quality Options dialog. High Quality Resampling: Turns on high-quality resampling (increasing or reducing the number of pixels in an image). Text Quality: Sets text render quality to Low, Medium, or High. When High is selected, project interactivity may slow. Shape antialiasing: Renders shapes at a higher resolution, then scales objects back to regular resolution to ensure smooth edges. Chapter 2 The Motion Interface 67 Antialias 3D intersections: Renders objects intersecting in 3D space at a higher resolution, then scales objects back to regular resolution to ensure smooth edges. Canvas Zoom Level You can zoom in on the Canvas to allow precision alignment and placement of objects, and you can zoom out to get a sense of the big picture or to see the path of a moving object. You can also use dynamic zoom modes to zoom in or out of the Canvas, or to zoom to specific areas of the Canvas. If you have a Multi-Touch device, you can pinch closed to zoom out and pinch open to zoom in. Zooming the Canvas does not change the size of the images in your project. It only changes the view of the entire window. To zoom in or out on the Canvas µ Choose a zoom level from the Zoom Level pop-up menu. In the following image, 25% is chosen from the Zoom Level pop-up menu. To use the dynamic zoom mode µ Holding down the Space bar and Command key (in that order), drag diagonally in the Canvas. The zoom occurs around the spot clicked in the Canvas. To zoom in and out using a Multi-Touch device µ Pinch closed to zoom out or pinch open to zoom in. After you zoom in, use a two-finger swipe in any direction to scroll around. 68 Chapter 2 The Motion Interface To zoom in and out of a specific area of the Canvas µ Holding down the Space bar and Command key (in that order), drag the area of the Canvas to zoom. While still holding down the keys, click the mouse button to zoom in 50 percent increments of the current zoom level. Holding down the Space bar, Command key, and Option key (in that order), the Canvas click to zoom out in 50 percent increments of the current zoom level. Note: To pan the Canvas without selecting the Pan tool, hold down the Space bar and drag in the Canvas. To zoom the Canvas so the viewable area of the project fills the window µ Choose Fit In Window from the Zoom Level pop-up menu. To reset the Canvas Zoom level Do one of the following: µ Choose 100% from the Zoom Level pop-up menu. µ In the toolbar, double-click the Zoom tool (located in the Pan tool pop-up menu). To reset the Canvas Pan µ In the toolbar, double-click the Pan tool. Canvas Rulers Using rulers in the Canvas can help you compose or align elements of your project, as well as snap objects to rulers. To turn on rulers µ In the View pop-up menu, enable Rulers (or press Command-Shift-R). When Rulers are enabled, a checkmark appears next to the item in the pop-up menu. By default, rulers appear along the left and top sides of the Canvas. You can change the location of the rulers in the Canvas pane of Motion Preferences. To change the location of the rulers 1 Choose Motion > Preferences. 2 In the Canvas pane, click Alignment, then choose a ruler layout from the Ruler Location pop-up menu. To add a horizontal or vertical guide to the Canvas 1 Click in the gray area of the horizontal or vertical ruler, and drag into the Canvas. As you drag, the value of the guide is displayed in the Canvas. Chapter 2 The Motion Interface 69 Note: Guides must be enabled in the View pop-up menu (or by pressing Command-Semicolon) to display the guides. The ruler units are in pixels, with the 0, 0 point in the center of the Canvas. 2 When the guide is in the location you want, release the mouse button. To simultaneously add a horizontal and vertical guide to the Canvas 1 Drag from the corner where the rulers meet into the Canvas. 2 When the guides are in the location you want, release the mouse button. To remove a guide from the Canvas µ Drag the guide off the Canvas. To delete the guide, drag into the Project pane or Timing pane areas, then release the mouse button. To change the color of the guides 1 Choose Motion > Preferences. 2 In the Canvas pane, click Alignment, click or Control-click the Guide Color well, then select a color. 70 Chapter 2 The Motion Interface Canvas in 3D Mode In addition to the traditional 2D project workspace, Motion provides a 3D workspace in which to arrange and animate objects, including groups, layers, cameras, and lights. When you switch to 3D mode, additional controls become available in the Canvas. A small set of 3D View tools appears in the upper-right corner of the Canvas window, and a 3D Compass appears in the lower-left corner. The upper-left corner of the Canvas contains the Camera menu, where you can choose which camera to use to view the project in 3D space. Important: You must add at least one camera or light to your project to create a 3D workspace. To add a camera to your project 1 Click the New Camera button in the toolbar. A dialog appears that prompts you to switch your 2D groups to 3D groups. 2 Click Switch to 3D to add a camera and create a 3D project. If you click Keep as 2D, a camera is added to your project, but groups remain 2D groups. To add a light to your project 1 Click the New Light button in the toolbar. A dialog appears that prompts you to switch your 2D groups to 3D groups. 2 Click Switch to 3D to add the light and create a 3D project. If you click Keep as 2D, a light is added to your project, but all groups remain 2D groups. Lights have no effect in 2D projects. Manipulating the 3D View The 3D workspace provides tools for manually changing your view or viewing a scene from a reference camera, such as Front, Back, Top, Bottom, and so on. You can also choose to view the scene through any camera added to your project. Note: The Left, Right, Top, and Bottom camera views are orthogonal views. You cannot animate or export these views. Chapter 2 The Motion Interface 71 To set the current view µ Click the Camera menu in the upper-left corner of the Canvas and choose a camera from the list. Motion animates the view change as it moves to the view. Camera menu If you modified the view, an asterisk appears next to the name of the camera view. For more information, see 3D View Tools. Note: If you isolate a layer or group (by choosing Object > Isolate), the Camera menu shows the name of the isolated object as the current view. For more information on the Isolate feature, see Layers List. To use the 3D View tools µ Drag the Pan, Orbit, or Dolly tool in the 3D View tools. Like a camera move, the view in the Canvas moves, rotates, or zooms. Orbit Pan Dolly Scene camera Important: The gray scene camera icon appears to the left the 3D View tools when a user-created scene camera is active. A scene camera is used for rendering specific camera views. This icon is a reminder (not a button or control) that when you use the 3D View tools, you are moving the scene camera, which affects your project’s output. To reset your camera Do one of the following: µ Double-click the Pan, Orbit, or Dolly tool. µ Click the Camera menu (in the upper-left corner of the Canvas) and choose Reset View. 72 Chapter 2 The Motion Interface µ In the Properties Inspector for the camera, click the Transform parameters reset button. Reset button Manipulating Objects in 3D Space The 3D workspace provides tools for manipulating objects in 3D space. These tools include 3D onscreen controls that manipulate the object, 3D transform controls in the HUD, and parameters in the Properties Inspector for the object. To transform an object in 3D space 1 Select the object to transform and select the 3D Transform tool in the toolbar. Scale handles appear around the edge of the object, and three colored 3D axis handles appear at the anchor point of the object. Each arrow-shaped handle corresponds to an axis along which you can move the object. 3D axis handles appear as colored arrows. 2 Drag the relevant transform handle and the object moves along the selected axis. The red axis is X (horizontal), the green axis is Y (vertical), and the blue axis is Z (depth). To rotate an object in 3D space 1 Select the object to transform, then select the 3D Transform tool in the toolbar. Scale handles appear around the edge of the object, and three colored 3D axis handles appear at the anchor point of the object. The three small circles near the axis handles are 3D rotation handles. Each rotation handle corresponds to an axis around which you can rotate the object. Chapter 2 The Motion Interface 73 2 Position the pointer over a rotation handle on either side or above the colored arrows. • The red ring indicates rotation around the X axis. • The green ring indicates rotation around the Y axis. • The blue ring indicates rotation around the Z axis. 3 When the 3D rotation handle is active, drag left or right in the Canvas to rotate the object around the selected axis. 3D rotation handles help you find the right axis. As you rotate, a small info window displays the changed values. To reset a transformed object 1 Select the object to reset. 2 In the Properties Inspector for the camera, click the Transform parameters reset button. For more information on 3D transforms, see 3D Transform Tools. Mini-Timeline The mini-Timeline is above the transport controls and below the Canvas. The mini-Timeline provides an at-a-glance look at where selected objects fit into the project as a whole. The mini-Timeline also provides controls to perform quick edits such as moving, trimming, and slipping objects without opening the Timing pane. Mini-Timeline The playhead indicates which frame you are viewing, and shows In and Out markers to identify the play range. The length of the mini-Timeline represents the duration of the project. You can add objects (such as clips, images, particle emitters, and so on) to a project at a specific time by dragging items from the File Browser or Library to the mini-Timeline. 74 Chapter 2 The Motion Interface To add an object to the mini-Timeline µ Drag the item from the File Browser or Library to the mini-Timeline, releasing the mouse button when the tooltip indicates the frame you want. To move an object in time µ Select the object to move, drag the object bar in the mini-Timeline to the left or right to reposition it in time, then release the mouse button when you reach the position you want. To shorten or lengthen an object µ Select the object, position the pointer over the beginning or ending edge of the object in the mini-Timeline, then drag the edge of the object bar to change its duration. A tooltip appears to indicate the In or Out point and the amount of change your edit is causing. For more information on using the mini-TImeline, see Mini-Timeline. Canvas Buttons and Transport Controls In the lower portion of the Canvas, there are several buttons that modify the workspace and let you control playback of the project. The first two buttons modify the workspace and audio playback: Show/Hide Project pane: Shows and hides the Project pane (which includes the Layers, Media, and Audio lists). The keyboard shortcut is F5. Note: If you use Multi-Touch device, three-finger swipe right or left to show or hide the Project pane. Play/Mute audio: Turns audio playback on or off. Note: Turning audio off can improve your playback performance. Chapter 2 The Motion Interface 75 The group of buttons centered at the bottom of the Canvas are transport controls. Use these button to play your project and see how it looks over time. Go to start of project Play from start Record Go to next frame Go to end Play/Pause of project Go to previous frame Go to start of project: Returns the playhead to the beginning of the project. The keyboard shortcut is Home. Go to end of project: Moves the playhead to the end of the project. The keyboard shortcut is End. Play from start: Plays from the play range In point to the play range Out point, letting you watch a portion of the entire project. To learn how to define the In and Out points, see Defining the Play Range. Play/Pause: Starts and stops playback. The keyboard shortcut is the Space bar. Record: Enables or disables animation recording. When recording is enabled, the values for animateable parameters appear red in the Inspector. This is to inform you that any change you make to a parameter (such as moving an object in the Canvas or adjusting a slider) creates a keyframe. Go to previous frame: Moves the playhead backward by one frame. Clicking the button (or holding down the shortcut key) rewinds the project one frame at a time. The keyboard shortcut is the Left Arrow (or Page Up) key. Note: If you have a Multi-Touch trackpad, you can rotate left to go to the previous frame. Go to next frame: Advances the playhead by one frame. Clicking the button (or holding down the shortcut key) advances the project one frame at a time. The keyboard shortcut is the Right Arrow (or Page Down) key. Note: If you have a Multi-Touch trackpad, you can rotate right to go to the next frame. The last two buttons modify the Canvas workspace and looping of video playback. Player Mode: Hides the File Browser, Library, Inspector, Project pane, and Timing pane to maximize Canvas space. For more information, see Player Mode. 76 Chapter 2 The Motion Interface Loop playback: Controls whether playback loops indefinitely, or whether playback stops when the end of the play range is reached. The keyboard shortcut is Shift-L. For more information on setting a project play range, see Defining the Play Range. Player Mode When you click the Player Mode button below the Canvas, the Canvas expands to fill the Motion workspace. This is helpful for watching project playback without the distraction of the software interface. In this mode, the menus, toolbar, and timing display remain active. The Show/Hide Timeline, Show/Hide Audio Timeline, and Show/Hide Keyframe Editor buttons at the lower-right corner of the workspace also remain available, as does the Show/Hide File Browser/Library/Inspector button at the lower-left corner of the workspace. To switch into player mode Do one of the following: µ Choose Window > Player Mode. µ Click the Player Mode button above the toolbar. µ Press F8. To return to normal view Do one of the following: µ Position your pointer over the menu, then choose Window > Player Mode again. µ Press F8 again. RAM Preview When you play a project in the Canvas, Motion performs complex calculations to represent the objects and effects that appear in each frame. This is called rendering. The project plays back as quickly as possible up to the frame rate specified in the Properties Inspector. With a very complex project, the frame rate can be significantly reduced, making it difficult to see how the project looks when played at full frame rate. Chapter 2 The Motion Interface 77 You can render parts of your project and store the frames in RAM. This lets you play back your project and see it play at full frame rate. This is called RAM Preview. You can render the play range, a selection, or the entire project. As the frames are rendered, a progress dialog appears and shows which frame is being rendered, how many more frames remain, and an approximation of the time remaining. You can interrupt RAM Preview by clicking the Stop button. The section that has been rendered is stored in RAM. Note: Because some sections of a project may be more complex than others, the Time remaining value may be somewhat inaccurate. To RAM Preview your entire project µ Choose Mark > RAM Preview > All. The RAM Preview dialog appears, and displays a progress bar. When RAM Preview is completed, the dialog closes. When a section of your project is stored in RAM, a green glow appears along the bottom of the Timeline ruler and the mini-Timeline. RAM Preview indicator in Timeline ruler RAM Preview indicator in mini-Timeline 78 Chapter 2 The Motion Interface RAM Previewing Regions Previewing large sections of your project using RAM Preview requires large quantities of RAM to store frames. You may not have enough RAM to store all frames you want to preview. You can restrict which frames are rendered by choosing to preview the play range or a selection. Using RAM Preview on a selection renders all visible layers in the project from the first frame of the selection until the last. For more information on setting a project play range, see Defining the Play Range. To RAM Preview the play range µ Choose Mark > RAM Preview > Play Range. The RAM Preview dialog appears, and displays a progress bar. When RAM Preview is completed, the dialog closes. To RAM Preview a selection 1 In the Timeline, Command-Option-drag the region to preview. A highlight appears over the selected frames. For more information on regions, see Working with Regions. 2 Choose Mark > RAM Preview > Selection. The RAM Preview dialog appears. When RAM Preview is completed, the dialog closes. Clearing RAM Preview You can manually delete RAM Preview to make room for a new RAM Preview or to free up RAM for other operations. To clear RAM Preview µ Choose Mark > RAM Preview > Clear RAM Preview. Canvas Shortcut Menu When no objects are selected, the Canvas has its own shortcut menu that allows you to access several useful tools. Chapter 2 The Motion Interface 79 To use the Canvas shortcut menu µ Control-click an empty area of the Canvas (in the gray area outside the project) and choose an option from the shortcut menu: • New Group: Adds a group to the project above existing groups in the Layers list. • Import: Opens the Import Files dialog, which allows you to import files from the Finder. • Paste: Pastes any item copied to the Clipboard into the selected group in the project. • Project Properties: Opens the Properties Inspector for the project, which allows you to modify the project’s background color, aspect ratio, field rendering, motion blur, reflections, and so on. For more information on project properties, see Project Properties. Viewing the Canvas or Timing Pane on a Second Display If you have two displays connected to your computer, you can show the Canvas or Timing pane on the second display. To show the Canvas on a second display µ Choose Window > Show Canvas on Second Display. The Canvas and Project pane (Layers, Media, and Audio lists) appear on the second display. Drag the right edge of the Project pane left or right to resize the Canvas and Project pane. To show the Canvas in the main window Do one of the following: µ Choose Window > Show Canvas in the Main Window. µ Choose Window > Revert to Original Layout. To show the Timing pane on a second display µ Choose Window > Show Timing Pane on Second Display. The Timing pane (Timeline, Audio Timeline, and Keyframe Editor) appear on the second display. Drag the right edge of the Timeline layers list left or right to resize the Timing pane and layers list. Note: Use the Show/Hide Timeline button, Show/Hide Audio Timeline button, and Show/Hide Keyframe Editor button in the lower-right corner of the Timing pane to show or hide the Timing pane interface elements. To show the Timing pane in the main window Do one of the following: µ Choose Window > Show Timing Pane in the Main Window. µ Choose Window > Revert to Original Layout. 80 Chapter 2 The Motion Interface Project Pane The Project pane, located between the File Browser, Library, or Inspector and the Canvas, contains three lists, each of which provides access to a different aspect of your project: • Layers list: Displays the hierarchy of objects (groups, layers, cameras, lights, behaviors, filters, and so on) in your project. • Media list: Shows the files imported into your project. • Audio list: Provides access to, and control of, audio files in your project. More than simple lists of items in a project, these panes let you organize key attributes of a motion graphics composition, including the stacking order of image layers, audio settings, and source media settings. To collapse or expand the Project pane Do one of the following: µ Choose Window > Show Project Pane (or press F5). µ Click the Show/Hide Project Pane button in the bottom of the Canvas. µ Use a horizontal three-finger swipe on a Multi-Touch device. When the Project pane collapses, the Canvas expands. To resize the Project pane Do one of the following: µ Drag the right edge of the pane left or right. Chapter 2 The Motion Interface 81 µ Choose Window > Hide Timing Pane (or press F6). The Timing pane is hidden and the Project pane is lengthened. Layers List The Layers list of the Project pane displays an overview of all image layers, effects, and masks used in a project. The top row of the Layer’s list contains the Project object that, when selected, gives you access to the project’s global settings (in the Project Inspector). Beneath the Project object are the groups, image layers, and effects objects that combine to form the composition displayed in the Canvas. In a 2D project, the stacking order of layers and groups in the Layers list determines which layers appear in front of others in the Canvas. The hierarchy of items in the list shows which images are in front of or behind other images in the Canvas. All image layers and effects objects—except for cameras, lights, rigs, and the Project object—must reside in groups. Masks, behaviors, and effects can be applied to groups or to layers. Applied masks, behaviors, and effects are listed beneath the group or layer to which they are applied. The masks, behaviors, and effects appear indented in the list. The Layers list displays several icons that indicate linked audio, 2D/3D status, and lock status. Similarly, layers modified by masks, behaviors, or filters display icons for each effect. Clicking mask, behavior, or filter icons turns the display of these objects, as well their effect on the project, on or off. To display the Layers list Do one of the following: µ If the Project pane is visible, click Layers at the top of the pane. µ Choose Window > Layers (or press Command-4). 82 Chapter 2 The Motion Interface The Layers list opens in a column view. Layers List Controls The Layers list contains the following controls: Isolate button Link icon Lock button 2D/3D icon (set to 3D) Activation checkbox Activation checkbox: Turns the visibility of the object (or its effect) on or off. When the object’s visibility is off, you can still modify the object’s parameters and manipulate its onscreen controls. Preview: Contains a thumbnail of the object. The group thumbnail represents the cumulative result of the composite up to that point in the project. You can turn the display of the preview on or off in the Layers Columns section of the View menu. Name field: Identifies the object by name. To edit the name, double-click the text area of a selected object, enter a new name, then press Return. In projects containing a camera, the Isolate button appears in the Name column. Isolate button: Appears for a selected layer, group, or camera in a project that contains a camera. The button has an active and inactive state. Clicking the Isolate button for a layer or group sets that object to its original face-forward orientation (so you can apply a mask, for example). Clicking the button again returns to the previous view. Clicking the Isolate button for a camera takes you to that camera’s view. Note: When a group or layer is isolated, the name of the item replaces the current camera listing in the Camera menu (in the upper-left corner of the Canvas). Link icon: Appears when the layer has a corresponding audio element, such as a multichannel QuickTime file. To unlink the video and audio (to edit them separately), click the link icon. When unlinked, a red slash appears through the icon. Chapter 2 The Motion Interface 83 Mask icon: Appears when a mask is applied to the layer or group. To turn off the effect of the mask, click the icon. A red slash appears through a disabled mask’s icon. Behavior icon: Appears when a behavior is applied to the layer or group. To turn off the effect of the behavior, click the icon. A red slash appears through a disabled behavior’s icon. Disabled filter Masks Filters Behaviors Filter icon: Appears when a filter is applied to the layer or group. To turn off the effect of the filter, click the icon. A red slash appears through a disabled filter’s icon. 2D/3D icon: Switches a group between 2D or 3D mode. The same icon appears at the left of the group name and indicates the 2D/3D status of the group. Layers cannot be 2D or 3D—they are always 2D elements in a 2D or 3D group. Lock icon: Locks an object to prevent changes from affecting that object. Locking a group prevents changes to layers and effects in that group. When the lock is disabled, its icon appears open. Opacity slider: Displays the opacity (transparency) of the group or layer. You can adjust the slider to change the item’s opacity. This slider is not displayed by default. To display the Opacity slider in the Layers list, choose View > Layers Columns > Opacity. Blend Mode pop-up menu: Displays the blend mode of the layer or group. Click the pop-up menu to choose a blend mode. You can turn the display of the blend mode pop-up menu on or off in the Layers Columns section of the View menu. This pop-up menu is not displayed by default. To display the Blend Mode pop-up menu in the Layers list, choose View > Layers Columns > Blend Modes. For more information on blend modes, see Using Blend Modes. Working in the Layers List You can customize the Layers list to accommodate working styles and the needs of projects. Adjusting the Height of Layers List Rows There are two ways to adjust the row height for objects displayed in the Layers list. 84 Chapter 2 The Motion Interface To adjust row height Do one of the following: µ Position the pointer over a horizontal line and drag up or down to decrease or increase the height of all rows. Icons and thumbnails resize themselves as you make the adjustment. µ Click the Scale button at the bottom of the Layers list (to the right of the Add and Search buttons), then drag the slider. Drag left to decrease the height of the rows and drag right to increase their height. Adding and Removing Groups The Layers list has controls to add groups and to remove objects from the project. To create a group in the Layers list Do one of the following: µ Click the Add button (+) in the lower-left corner of the Project pane. µ Choose Object > New Group (or press Command-Shift-N). An empty group is added above the current group. Note: You can also create groups when dragging files to the Layers list from the File Browser or Library. For more information, see Adding Media Files to a Project. To remove an object from the Layers list Do one of the following: µ Control-click the object to remove, then choose Cut or Delete from the shortcut menu. µ Select the object to remove, then choose Edit > Delete (or press Delete) or Edit > Cut. The object is removed. This action removes the object from the Canvas as well. Note: If you delete a media file (an imported image, image sequence, audio file, or QuickTime movie) from the project, the file is also removed from the Media list unless “Automatically manage unused media” is deselected in the General pane of Motion Preferences. When this setting is turned off, media files are deleted from the Layers list (and Canvas) but remain in the project in the Media list. Drag an item from the Media list into the Canvas to add it to the Layers list. Filtering the Layers List View As a project becomes more complex, you might want to hide some objects from view to focus on a few key objects. You can filter the Layer’s list using the Search button in the lower-left corner of the Project pane. Chapter 2 The Motion Interface 85 To filter the Layers list µ Click the Search button, then enter the name of the objects to view in the Search field. When you begin typing in the Search field, the Layers list hides objects that do not contain the text you type. Hidden objects continue to appear in the Canvas. To stop filtering and return to the complete list µ Click the Clear button at the right of the Search field. The Search field is cleared and the Layers list returns to the unfiltered view. Hiding and Showing Effects Masks, behaviors, and filters can be turned on and off in the Layers list by using the buttons at the bottom-right corner of the list. Note: Hiding the effect in the Layers list does not disable it from view in the Canvas nor prevent you from modifying the effect’s parameters or manipulating its onscreen controls. To turn on and off the display of masks in the Layers list µ Click the Show/Hide Masks button. To turn on and off the display of behaviors in the Layers list µ Click the Show/Hide Behaviors button. To turn on and off the display of filters in the Layers list µ Click the Show/Hide Filters button. 86 Chapter 2 The Motion Interface Additional Options in the Layers List The Layers list shortcut menu gives you access to additional commands to help organize and manipulate layers. Control-click a layer in the Layers list, then choose a command from the shortcut menu. The command is applied to the layer you Control-clicked. The menu contains the following commands: • Cut: Removes the layer and places it on the Clipboard. • Copy: Copies the layer to the Clipboard. • Paste: Places the contents of the Clipboard in the current location. • Duplicate: Creates a layer identical to the selection. • Delete: Removes the selected layer. • Group: Places the selected layers into a group. (For more information on working with groups, see Grouping and Ungrouping Layers.) • Ungroup: Restores the components to their ungrouped state if the selection contains a group. • Active: Turns the layer on or off. This is equivalent to clicking the activation checkbox in the On column. • Solo: Hides other layers in the project. When a layer is soloed, checkboxes for other layers and groups are dimmed. You can solo multiple layers and groups at a time. • Isolate: Isolates the selected layer, group, or camera (when a project contains a camera). For a layer or group, choosing Isolate changes the item back to its original face-forward orientation to allow the application of a mask, for example. Clicking a camera’s Isolate button activates that camera’s view. This is the same as clicking the Isolate icon in the Name column. • 3D Group: Switches the group from 2D mode to 3D mode. • Blend Mode: Sets the blend mode for the selected layer. This is equivalent to setting a value using the Blend Mode pop-up menu (when chosen in View > Layers Columns). • Add Image Mask: Adds an image mask to the selected layer. An image mask creates transparency in another object by deriving an alpha channel from another layer, such as a shape, text, movie, or still image. For more information, see Applying Image Masks to a Layer. • Make Clone Layer: Clones the selected layer. Like the Duplicate command, Make Clone Layer lets you make copies of a selected layer. However, copies created by the Make Clone Layer command are automatically modified to match changes made to the original layer. For more information on cloning layers, see Making Clone Layers. • Reveal Source Media: Opens the Media list and highlights the media file associated with the selected clip. Chapter 2 The Motion Interface 87 When no items are selected in the Layers list, the shortcut menu provides this set of commands: • New Group: Adds a group to the project above existing groups in the Layers list. • Import: Opens the Import Files dialog, which allows you to import files from the Finder. • Paste: Pastes any item copied to the Clipboard into the selected group in the project. • Project Properties: Opens the Properties Inspector for the project, which allows you to modify the project’s background color, aspect ratio, field rendering, motion blur, reflections, and so on. For more information on project properties, see Project Properties. Media List The second list in the Project pane contains a complete list of all media files (audio, image, image sequence, and QuickTime movie files) in the project. The items in this list are links to source media files that remain on your hard disk or networked hard disk. Applied effects (such as filters or behaviors) and graphics content created in Motion (such as masks, shapes, or text), do not appear in the Media list. To display the Media list Do one of the following: µ If the Project pane is visible, click Media at the top of the pane. µ Choose Window > Media (or press Command-5). µ To display additional columns in the Media list, drag the scroller at the bottom of the Media list. Drag to scroll Media list items. For descriptions of the Media list column headers, see View Menu. Working in the Media List You can customize the Media list to organize and manage media in your project. Showing and Hiding Columns You can choose which Media list columns are displayed or hidden. 88 Chapter 2 The Motion Interface To show or hide a column µ Control-click a column header, then choose the item to show or hide from the pop-up menu. Items in the list with a checkmark are displayed in the Media list. Items with no checkmark are hidden. To reorder columns µ Drag the column left or right to a new position. To adjust column width µ In the header row, drag a column border to resize the width. Adding and Removing Media In the Media list you can add files to the project, or remove them. To add a file via the Media list Do one of the following: µ Click the Add button (+) in the lower-left corner of the Project pane; then, in the Import Files dialog, select a file to add and click Import. µ With the Media list active, choose File > Import (or press Command-I); then, in the Import Files dialog, select a file to add and click Import. µ Control-click in the Media list, choose Import Media from the shortcut menu, then add a file via the Import Files dialog. The file is added to the Media list. To import an image sequence, turn on the Image Sequence checkbox. If this checkbox is deselected, only files selected in the Import dialog are imported. To select multiple files, Shift-click the files; to select noncontiguous files, Command-click the files. Chapter 2 The Motion Interface 89 Important: Files added to the Media list are not added to the Canvas. To add a file to the Canvas, drag the file from the Media list to the Canvas. To remove a file from the Media list Do one of the following: µ Control-click the file, then choose Delete or Cut from the shortcut menu. µ Select a file to remove, then choose Edit > Cut (or press Delete). The media is removed. If the media is used in the Canvas, an alert appears asking you to confirm that you want to remove the files from the project. Additional Options in the Media List The Media list shortcut menu gives you access to commands to help organize and manipulate layers. Control-click an item in the Media list, then choose a command from the shortcut menu. The command is applied to the layer you Control-click. The menu contains the following commands: • Open in Viewer: Opens the selected item in the viewer window. This is equivalent to double-clicking a file in the File Browser. • Open in QuickTime Player: Opens the selected item in the QuickTime Player application. • Reveal in Finder: Switches out of Motion, and opens a Finder window where the Media file resides on disk. • Reconnect Media: Opens the Reconnect Media dialog where you can assign a source file on disk to correspond to the media file in Motion. • Cut: Removes the file and places it on the Clipboard. • Copy: Copies the file to the Clipboard. • Paste: Places the contents of the Clipboard in the current location. • Duplicate: Creates a file identical to the selected file. • Delete: Removes the selected file. When no items are selected in the Media list, the shortcut menu provides this set of commands: • Import Media: Imports media into the Media list but does not place the media in the Canvas or Layers list. • Reconnect Missing Media: Reconnects offline media. When a source media file is moved from where it was stored on disk, you must reconnect the media to your project. This command displays a dialog that lets you navigate to the new location of the file. • Remove Unused Media: Removes the source media not used in the project from the Media list. 90 Chapter 2 The Motion Interface • Paste: Pastes media files in the Clipboard into the Media list, but does not place the media into the project. • Project Properties: Opens the Properties Inspector for the project, where you can set basic project information such as project width and height, pixel aspect ratio, background color, and much more. For more information on the Properties Inspector, see Creating a Blank Motion Project. Sorting Columns in the Media List Use the following procedures to sort items in the Media list. To sort items in a column by file type µ Click the column header. Click the column header to sort by that column’s data type. The arrow in the column header indicates the direction of the sort. Note: Sorting does not work in the Layers list or Timeline layers list. The layers are sorted in the column and a small arrow appears indicating the direction of the sort. To reverse the direction of the sort µ Click the header of the column that contains the small arrow. The arrow points in the opposite direction, and the data is sorted in reverse order. Chapter 2 The Motion Interface 91 Audio List The Audio list displays all audio files and files containing audio (such as a multitrack QuickTime movie) in your project. You can modify the levels of individual files or you can modify the overall audio level of the project. For more information on working with audio in Motion, see Working with Audio. To display the Audio list Do one of the following: µ If the Project pane is visible, click Audio at the top of the pane. µ Choose Window > Audio (or press Command-6). Controls in the Audio List The Audio list contains display and editable information about audio components of the project: Activation checkbox: Turns the audio track on or off. Name field: Identifies the file by name. To edit the name, double-click the text area of a selected file, enter a name, then press Return. Level slider: Controls the level (volume) of the file. Numbers are measured in decibels (dB). Modify the Level parameter by dragging the slider, by dragging in the value field, or by entering a numerical value in the field. Audio Output pop-up menu: Specifies audio output channels such as Stereo, Left, Right, Center, and so on. Choose an output channel for the audio track. 92 Chapter 2 The Motion Interface Pan slider: Displays the left-right balance of the sound. Modify the Pan parameter by dragging the dial, by dragging in the value slider, or by entering a numerical value in the field. Negative numbers move panning to the left, positive numbers move panning to the right. Mute button: Mutes all sound from a selected file. When the icon is inactive, audio from the file plays back based on the level value. Solo Mute Solo button: Mutes all but the selected audio track. You can solo more than one audio track to hear the soloed files rather than the entire mix. Link icon: Disconnects an audio track from its video source. You can unlink video and audio to retime them separately or to delete the audio track. Lock icon: Locks an audio track to prevent changes. This column can also include a link icon when a file has a corresponding video element. Working in the Audio List You can customize the Audio list to manage audio assets. Adding and Removing Audio Files The Audio list has controls to add files and to remove files from the project. To add an audio file to the project Do one of the following: µ Click the Add button (+) in the lower-left corner of the Project pane; then, in the Import Files dialog, navigate to the file to import, select the file, and click OK. µ With the Audio list active, choose File > Import (or press Command-I); then, in the Import Files dialog, navigate to an audio file, select the file, and click Import. The file is added to the project (the Audio and Media lists). Note: When importing a QuickTime movie that contains multiple audio tracks, select Mix to Stereo in the Import Files dialog to import the file with a single audio track. Select Import All Tracks to import the file with individual tracks. To remove a file from the Audio list Do one of the following: µ Control-click the file, then choose Delete from the shortcut menu. µ Select the file to remove, then choose Edit > Delete (or press Delete). Chapter 2 The Motion Interface 93 The file is removed. This action removes the file from the project (from the Audio and Media lists). Filtering the Audio List As a project becomes more complex, you might want to hide audio files from view to focus on a few key tracks. You can filter the Audio list using the Search button in the lower-left corner of the list. For instructions on how to filter your view, see Filtering the Layers List View. Additional Options in the Audio List The Audio list shortcut menu gives you access to commands to help organize and manipulate layers. Control-click a track in the Audio list, then choose a command from the shortcut menu. The command is applied to the track you Control-clicked. The menu contains the following commands: • Cut: Removes the file and places it in the Clipboard. • Copy: Copies the file to the Clipboard. • Paste: Places the contents of the Clipboard in the current location. • Duplicate: Creates a file identical to the original file. • Delete: Removes the selected file. • Active: Turns the file on and off. This is equivalent to clicking the activation checkbox in the On column. • Mute: Mutes the track. This is equivalent to clicking the Mute button in the Status column. • Solo: Solos the track. This is equivalent to clicking the Solo button in the Status column. • Reveal Source Media: Opens the Media list and highlights the media file associated with the selected clip. When no items are selected in the list, the shortcut menu provides this set of commands: • Import Audio: Opens the Import Files dialog, which you can use to navigate to the audio file to import. • Paste: Pastes any audio data in the Clipboard into the Audio list and Media list. • Project Properties: Opens the Properties Inspector for the project, where you can set project information such as project width and height, bit depth, aspect ratio, background color, render settings, and much more. For more information on the Properties Inspector, see Creating a Blank Motion Project. 94 Chapter 2 The Motion Interface Audio Master Track Each project has a Master audio track. The controls for the Master track are located at the bottom of the Audio list, below the audio tracks. Using the Master track’s controls, you can make changes that affect the final mixed output of all audio tracks. For example, you can lower the volume of all tracks simultaneously or pan all tracks to the left or right. Pan dial Level slider Level meters Clipping indicators Link icon Mute button Lock icon Audio output pop-up menu The Master track is turned on by default. When it is deselected, no sound is audible when you play the project, and no audio is included when you export your project. When it is turned on, all audio tracks that are turned on are included in your export. To the right of the Master track controls are stereo level meters that display the combined level of all audible tracks. Except for an editable name field and a solo icon, the Master track has the same controls as the individual audio tracks. For more information, see Working with Audio. Timing Pane The Timing pane, located at the bottom of the Motion workspace, has three components, each to control a different timing aspect of a project: • Timeline: Provides an overview of objects in the project and how they are laid out over time. • Keyframe Editor: Displays the animation curves for animated parameters and effects. • Audio Timeline: Provides an overview of audio components of the project and how they are laid out over time. Chapter 2 The Motion Interface 95 The Timing pane lets you view and modify the time component of a project’s contents. Objects, keyframes, and audio tracks are shown in a time graph and can be adjusted to coordinate timing of sequence events such as visual effects and audio-video sync. To display the Timing pane Do one of the following: µ Choose Window > Show Timing Pane (or press F6). µ Click one (or more) of the Show/Hide Timeline, Show/Hide Audio Timeline, or Show/Hide Keyframe Editor buttons in the lower-right corner of the Motion project window. µ Choose Window > Video Timeline (Command-7), Keyframe Editor (Command-9), or Audio Timeline (Command-8). µ When using a Multi-Touch device, swipe up or down with three fingers to show or hide the Timing pane. 96 Chapter 2 The Motion Interface To resize the Timing pane Do one of the following: µ After the Timing pane appears, drag the tool bar that contains the timing display (above the Timing pane) up to heighten the Timing pane or down to lower the pane. µ Drag the boundary (the gray line) between the File Browser, Library, or Inspector and the Timing pane list to the left or right to widen or narrow the pane. µ Deselect the “i” button in the lower-left corner of the Motion Project window to widen the Timing pane. Viewing the Timing Pane on a Second Display You can show the Timing pane on a second display. For more information, see Viewing the Canvas or Timing Pane on a Second Display. Timeline The Timeline displays the visual elements in your project (the layers) and cameras, lights, keyframes, and effects such as masks, behaviors, and filters. The left side contains the Timeline layers list. The right side contains the Timeline track area. For more information on using the Timeline, see Using the Timeline. To display the Timeline Do one of the following: µ Choose Window > Video Timeline (or press Command-7). µ Select the Show/Hide Timeline button in the lower-right corner of the workspace. Chapter 2 The Motion Interface 97 Timeline Layers List The left side of the Timeline is the Timeline layers list. Like the Layers list in the Project pane, objects appear in the project hierarchy categorized into layers and groups. The Timeline layers list contains many of the controls as the Layers list in the Project pane: Activation checkbox: Turns the visibility of an object on and off. When the object visibility is off, you can still modify the object’s parameters and manipulate its onscreen controls. Name field: Identifies the object by name. (This column is identical to the Name field in the Layers list.) To edit the name, double-click the text area of an object, enter a name, then press Return. In projects that contain a camera, the Isolate button also appears in this column. Isolate button: Appears for a layer, group, or camera in a project that contains a camera. The button has an active and inactive state. Clicking the Isolate button for a layer or group sets that object to its original face-forward orientation (so you can apply a mask, for example). Clicking the button again returns to the previous view. Clicking the Isolate button for a camera takes you to that camera’s view. Note: When a group or layer is isolated, the name of the item replaces the current camera listing in the Camera menu (in the upper-left corner of the Canvas). Mask icon: Appears when a mask is applied to the layer or group. To turn off the mask, click the icon. A red slash appears through a disabled mask’s icon. Behavior icon: Appears when a behavior is applied to the layer or group. To turn off the behavior, click the icon. A red slash appears through a disabled behavior’s icon. Filter icon: Appears when a filter is applied to the layer or group. To turn off the filter, click the icon. A red slash appears through a disabled filter’s icon. 98 Chapter 2 The Motion Interface Link icon: Appears when the layer has a corresponding audio element, such as a multichannel QuickTime file. To unlink the video and audio (to edit them separately), click the link icon. When unlinked, a red slash appears through the icon. 2D/3D icon: Switches a group between 2D or 3D mode. The same icon appears at the left of the group name and indicates the 2D/3D status of the group. Layers cannot be 2D or 3D—they are always 2D elements in a 2D or 3D group. Lock icon: Locks an object to prevent changes from affecting that object. Locking a group prevents changes to layers and effects in that group. When the lock is disabled, it appears “open.” Timeline Row Size pop-up menu (unlabeled): Sets the Timeline tracks and Timeline layers list items display size to Mini, Small, Medium, or Large. Note: You can also position the pointer over any horizontal row separator and drag up to decrease or down to increase the height of all tracks. Show/Hide Effects Buttons Show/Hide Masks button: Turns the display of masks on or off in the list and Timeline. Showing or hiding masks in the list does not control whether the mask effects appear in the Canvas. This button is located in the upper-right corner of the Timeline layers list. Show/Hide Behaviors button: Turns the display of behaviors on or off in the list and Timeline. Showing or hiding behaviors in the list does not control whether the behavior affects project objects. This button is located in the upper-right corner of the Timeline layers list. Show/Hide Filters button: Turns the display of filters on or off in the list and Timeline. Showing or hiding filters in the list does not control whether the filter effects appear in the Canvas. This button is located in the upper-right corner of the Timeline layers list. Chapter 2 The Motion Interface 99 Timeline Track Area The main part of the Timeline, to the right of the Timeline layers list, is called the track area. Each objects in a project is represented by a colored bar (known as a timebar). Different colors represent different types of objects. For example, behaviors and filters are purple and masks are gray. For a complete table of colors, see Timeline Tracks. When a group containing more than one object is selected, the group track displays an indicator that identifies how many objects reside in that group. Layers, cameras, and lights are counted in that total. Effects such as masks, behaviors, and filters are not counted. Timeline Ruler At the top of the track area is the ruler that provides a gauge for the positions and durations of objects in your project. In point Playhead Project marker Out point The ruler can contain indicators to help mark important frames or sections of the project such as the playhead, play range indicators (also called In and Out points), and markers. The ruler can be viewed in frames or timecode. To change the ruler view format between timecode and frame numbers µ Click the downward arrow in the timing display (above the ruler), then choose Show Frames or Show Timecode from the pop-up menu. 100 Chapter 2 The Motion Interface The playhead tracks the frame visible in the Canvas. You can drag the playhead or reposition it using the transport controls described in Canvas Buttons and Transport Controls. The playhead in the Timeline and the playhead in the mini-Timeline are linked. Moving one moves the other. The play range indicators limit the area of the project to be played. For more information on setting and using the play range, see Defining the Play Range. Markers can be added to your project to identify an important frame or range of frames. For more information on creating and using markers, see Adding Markers. Working in the Timeline The Timeline can be customized to facilitate working styles and project needs. For information on navigating frames, see Timing Display. Adding and Removing Objects You can add items to your project by dragging them from the Library or File Browser to the Timeline. You can also delete items from the Timeline. To add an item to the Timeline 1 Drag an object from the File Browser or Library to the Timeline track area. As you drag in the track area, a tooltip appears at the pointer to tell you the frame number. 2 When you reach the frame where you want the layer to start, position the pointer over the layer you want as the background, and hold down the mouse button until the drop menu appears. 3 Choose an option from the drop menu: • Choose Composite to add the item to the project in the active group. • Choose Insert to push the existing track forward in time to make room for the new item. • Choose Overwrite to replace the existing object with the new object. • Choose Exchange to exchange an object using the original object’s duration. This option is only available when you exchange the same type of media (such as a QuickTime movie or image sequence). For more information using the drop menu, see Adding Layers to the Track Area. To remove an object from the Timeline Do one of the following: µ In the track area, select the object to remove, then choose Edit > Delete (or press Delete). µ Control-click the item to remove, then choose Delete from the shortcut menu. Chapter 2 The Motion Interface 101 Moving Objects in the Timeline When you want an object to begin and end at a different point in the project, you can move it in the Timeline. For more information about moving, trimming, slipping, or retiming objects, see Editing Objects in the Timeline. To move an object µ In the track area, click a timebar and drag left or right to move it in time. As you drag, a tooltip identifies the new In and Out points of the clip. A delta symbol (triangle) indicates the number of frames you are moving. To move an object and snap it to neighboring items Do one of the following: µ Select the Snapping button in the upper-right corner of the Timeline. µ Press Shift as you drag the item in the Timeline. Snap-to lines appear and the edges of the clip line up with these lines. Turning Effects On and Off As in the Layers list of the Project pane, when you apply a mask, behavior, or filter to an image layer, an icon appears next to the layer name. Mask, behavior, and filter icons control the visibility of those effects in the Canvas. Masks Behaviors Filters To turn masks off for a layer or group µ Click the mask icon in the Timeline layers list. 102 Chapter 2 The Motion Interface A red slash appears over the icon and the effect is temporarily turned off. To turn behaviors off for a layer or group µ Click the behavior icon (the gear) in the Timeline layers list. A red slash appears over the icon and the effect is temporarily turned off. To turn filters off for a layer or group µ Click the filter icon in the Timeline layers list. A red slash appears over the icon and the effect is temporarily turned off. For all these controls, clicking the icon again turns the effect back on. Showing and Hiding Effects Use the buttons at the top of the Timeline layers to list show or hide effects such as masks, filters, and behaviors. When effects are hidden, their timebars do not appear in the track area. Showing or hiding effects in the list does not control whether the effect appears in the Canvas. To turn on or off the display of masks in the Timeline µ Click the Show/Hide Masks button at the top of the Timeline layers list. To turn on or off the display of behaviors in the Timeline µ Click the Show/Hide Behaviors button at the top of the Timeline layers list. To turn on or off the display of filters in the Timeline µ Click the Show/Hide Filters button at the top of the Timeline layers list. Showing and Hiding Keyframes Additionally, the Timeline lets you display keyframes. When keyframes are shown, each track becomes a little taller, and the bottom section is used to show keyframes that exist for the layer. Keyframe Selected keyframe Chapter 2 The Motion Interface 103 To turn on or off the display of keyframes in the Timeline µ Click the Show/Hide Keyframes button in the upper-right corner of the Timeline track area. Resizing the Timeline You can adjust the height of the tracks in the Timeline to provide more or less vertical space. You can also change the width of the Timeline track area. To adjust track height Do one of the following: µ In the Timeline layers list, position the pointer over a horizontal row separator and drag up to decrease or down to increase the height of all tracks. µ Choose Mini, Small, Medium, or Large from the pop-up menu in the bottom-left corner of the Timeline layers list. Note: Dragging the row separators up or down sets the pop-up menu to Custom. To change the width of the Timeline 1 Position the pointer over the rightmost edge of the Timeline layers list. 2 When the pointer changes to the column adjust pointer, drag right to narrow or left to widen the track area. 104 Chapter 2 The Motion Interface Collapsing and Expanding Groups and Layers You can collapse a group or layer so tracks for objects in the group are temporarily hidden. Group collapsed Group expanded To collapse or expand a group or layer µ Click the disclosure triangle to the left of the group or layer name in the Timeline layers list. Disclosure triangle Several editing tasks can be done in the Timeline, including moving, trimming, and slipping. For more information on how to perform editing in the Timeline, see Editing Objects in the Timeline. Zooming in the Timeline A zoom/scroll control at the bottom of the track area lets you zoom in and out to focus on detail in the Timeline. Below the zoom/scroll control is the zoom slider, which zooms in and out based on the location of the playhead. Scroller Handle Zoom slider Chapter 2 The Motion Interface 105 To zoom the Timeline using the zoom/scroll control Do one of the following: µ Click the handle of the control and drag it away from the center to zoom out and toward the center to zoom in. The Timeline updates as you drag. µ Drag the control left to zoom right or right to zoom left. To zoom the Timeline using the zoom slider µ Drag the slider to the left to zoom out and to the right to zoom in. To zoom the Timeline using a Multi-Touch device µ Pinch open to zoom in, pinch closed to zoom out. After you zoom in, use two-finger swipes to scroll left or right. To zoom the Timeline to fit the entire project or play range Do one of the following: µ Click the Zoom Time View button in the upper-right corner of the Timeline. µ Choose View > Zoom Time View > To Project. Note: The Zoom Time View items in the View menu are dimmed until you select an object in the Timeline. 106 Chapter 2 The Motion Interface Changing the Track Display The tracks in Motion can be displayed in a variety of ways for different working styles. You can set your tracks to be viewed as Name, Name Plus Thumbnail, and Filmstrip. Name Name Plus Thumbnail (default) Filmstrip To change the Timeline track display 1 Choose Motion > Preferences (or press Command-Comma) to open Motion Preferences, then click Appearance. 2 In the Timeline section of the Appearance pane, choose an item from the Timebar Display pop-up menu: • Name: Displays the name of the object on the track. • Name Plus Thumbnail: Displays the name of the object and a single thumbnail on the track. • Filmstrip: Displays frames of the object over the track. Regardless of the Timebar Display setting, tracks for cameras, lights, behaviors, and filters are labeled with names only. When the Timebar Display is set to Filmstrip, your processing time is increased. Chapter 2 The Motion Interface 107 Audio Timeline The Audio Timeline provides a view of audio elements over time. The audio tracks appear as green bars with the audio waveform on top of the bar, and can be edited like other objects in the Timeline. The Audio Timeline uses the same ruler, buttons, and other controls as the Timeline. For more information on the Timeline interface, see Timeline. The green bar in the mini-Timeline also shows the duration of the audio file. Audio behaviors applied to tracks appear as purple bars in the Audio Timeline and mini-Timeline. For complete information on using audio, see Working with Audio. To display the Audio Timeline Do one of the following: µ Choose Window > Audio Timeline (or press Command-9). µ Click the Show/Hide Audio Timeline button in the lower right corner of the workspace. Note: If you have a Multi-Touch device, and the Audio Timeline (or Timeline and Audio Timeline) is visible, swipe up or down with three fingers to show or hide the Audio Timeline. You can choose whether to hear the audio play when you drag the playhead in the Timing pane or the mini-Timeline. This is called audio scrubbing. Working in the Audio Timeline You can perform basic audio tasks in the Audio Timeline, including scrubbing, modifying the in or out point of a track, and so on. And you can display keyframes in the Audio Timeline. To scrub an audio track µ Hold the Option key down while dragging the playhead right or left in the Audio Timeline (or other area of the Timing pane). µ Keeping the pointer still while pressing the mouse button down continuously loops the five frames adjacent to the current frame. 108 Chapter 2 The Motion Interface To change the audio track’s start time Do one of the following: µ Drag the audio track to the left or right to change the track’s start time. µ Drag either end of the audio track. µ Set an In time in the Timing controls of the audio track’s Properties Inspector. µ Move the playhead to the frame you want, then choose Mark > Move Selected In Point. To change the audio track’s end time Do one of the following: µ Drag the audio track to the right to advance the audio, or drag to the left to rewind. µ Drag either end of the audio track. µ Set an Out time in the Timing controls of the audio track’s Properties Inspector. µ Move the playhead to the frame you want, then choose Mark > Move Selected Out Point. To turn on or off the display of keyframes in the Audio Timeline µ Click the Show/Hide Keyframes button in the upper-left corner of the track area. Keyframing Audio Audio level and pan parameters can be animated. When an audio track is selected, its keyframes can be modified in the Keyframe Editor. Keyframes appear as diamonds, and curves appear as solid lines. Areas before the first keyframe and after the last keyframe are represented with dotted lines. You can manipulate keyframes by dragging them in the graph. Moving a keyframe left or right changes its position in time, while dragging it up or down changes its value. Because audio keyframes work the same as keyframes for other parameters, see Keyframe Editor for more information on the Keyframe Editor interface. Chapter 2 The Motion Interface 109 Zooming in the Audio Timeline The Audio Timeline shares the Timeline’s zooming controls. For more information, see Zooming in the Timeline. Keyframe Editor The Keyframe Editor is where you can view and modify the attributes of filters, behaviors, and other effects over time. Each parameter can be displayed as a curve showing how the parameter’s value changes over time. You can manipulate the points in that curve (called keyframes) to create a variety of powerful effects. For more information on using the Keyframe Editor, see Keyframes and Curves. To display the Keyframe Editor Do one of the following: µ Choose Window > Keyframe Editor (or press Command-8). µ Click the Show/Hide Keyframe Editor button in the lower-right corner of the workspace. 110 Chapter 2 The Motion Interface Keyframe Basics You animate an object by creating at least two keyframes for a parameter, such as Opacity, at different points in a project. A keyframe is a point that records a change in the value of a parameter. For example, to create an animation in which an object is transparent at frame 1 and becomes opaque at frame 120, you create two keyframes: an Opacity keyframe set to a value of 0% at frame 1 and an Opacity keyframe set to a value of 100% at frame 120. The image fades in from 0% to 100% over the 120 frames. The smooth, fade-in transition between the adjacent keyframed values is called interpolation. Keyframes for a specific parameter (such as Opacity or Rotation) are positioned on a line over time. Values for the keyframes change the shape of that line and create an animation curve. The type of curve from keyframe to keyframe (interpolation) can be changed to create animation effects. For example, keyframes set to Bezier create smooth transitions in values. Keyframes set to Linear create straight lines between the keyframes, for sharper changes in value. You can modify keyframes and animation curves in the Keyframe Editor, located in the Timing pane. For more information, see Keyframes and Curves. There are two keyframing methods available to suit your preferred workflow: • Record Button: After the Record button is turned on, any adjustment to any parameter in the Canvas, Inspector, or HUD adds a keyframe. • Initial Keyframe: After a keyframe has been added to a parameter, any adjustment to that parameter in the Canvas, Inspector, or HUD adds a keyframe, independent of the state of the Record button. For more information, see Keyframing Methods. To create keyframes by moving an object across the screen using the Record button 1 Click the Record button under the Canvas (or press A) to turn on keyframe recording. 2 Place the playhead at the starting frame, then place the object in a starting position in the Canvas. 3 Move the playhead forward, then drag the object to the ending position you want. An editable animation path appears in the Canvas and keyframes appear in the Keyframe Editor for the selected object. 4 Click the Record button (or press A) to turn off keyframe recording. Chapter 2 The Motion Interface 111 To animate an object across the screen by setting an initial keyframe 1 In the Canvas, position the object to your desired starting location. 2 To create an initial Position keyframe, do one of the following: • Press Control-K. Note: Pressing Control-K adds a keyframe to the last-modified parameter of the object. • In the Properties Inspector, open the Position parameter’s Animation menu (the downward arrow on the right), then choose Add Keyframe. Note: The Animation menu (the downward arrow) and the Add/Delete keyframe buttons appear when you place the pointer over the end of the parameter row in the Inspector. You can also Control-click a parameter’s name to reveal a shortcut menu. • In the Properties Inspector, click the Position parameter’s Add/Delete Keyframe button. A keyframe is added at the current playhead position, and the parameter appears red in the Inspector. 3 Move the playhead to a new time position. 4 Move the object to a new position in the Canvas. A keyframe is added at the current playhead position. When you play back the project, the object moves over the interval you set. Keyframe Editor Controls The left side of the Keyframe Editor contains a list of parameters. You can choose which parameters to display by using the Show Curve Set pop-up menu at the top of the list. This menu has an option for creating custom curve sets so you can focus on specific parameters in the Keyframe Editor. For more information on creating and viewing parameter sets, see Custom Parameter Sets. There are a number of controls above the parameter list: Show Curve Set pop-up menu: Sets what is displayed in the Keyframe Editor. The pop-up menu items include: • All: Displays all parameters for the selected object, whether or not the parameters are animated. • Animated: Displays only animated parameters and curves for the selected object. This includes animation curves created by keyframing as well as behaviors. This is the default setting. With the Keyframe Editor active, you can also press the U key to choose Animated from the Show Curve Set pop-up menu. 112 Chapter 2 The Motion Interface When the selected object is not animated, nothing appears in the Keyframe Editor. • Modified: Displays only curves that are modified for the selected object. This includes modifications that are not animated. For example, if you change the color of a shape (without animating the color change), the parameter appears in the Modified list because the color was changed from the default color. Animated parameters also appear in the list. • Active: Shows only parameters being modified. When this option is selected, nothing appears in the Keyframe Editor unless you are modifying an object (in the Canvas, Inspector, or HUD). For example, when Active is selected and you are moving an object around in the Canvas, the X and Y Position parameters and curves are displayed. • Position: Displays only the Position parameters for the selected object. • Rotation: Displays only the Rotation parameters for the selected object. • Scale: Displays only the Scale parameters for the selected object. • Shear: Displays only the Shear parameters for the selected object. • Anchor Point: Displays only the Anchor Point parameters for the selected object. • Opacity: Displays only the Opacity parameters for the selected object. • Retiming: Displays only the Retime Value parameter for the selected object. This parameter appears in the Keyframe Editor only when Time Remap is set to Variable Speed in the Timing controls of the Properties Inspector. • New Curve Set: Lets you create a custom curve set. • Manage Curve Sets: Lets you manage (delete, duplicate, and so on) custom curve sets. Note: For more information on using curve sets, see Custom Parameter Sets. Chapter 2 The Motion Interface 113 Keyframe edit tools: There are three tools for editing keyframes and curves in the Keyframe Editor. These tools are located above the parameter list. For more information about using these tools, see Modifying Keyframes. Sketch Edit Transform • Edit Keyframes tool: Use to select and edit keyframes. • Sketch Keyframes tool: Use to draw curves with keyframes. A parameter must be active (its checkbox enabled) and selected in the list before you can sketch a curve. • Transform Keyframes tool: Use to drag a selection box around keyframes and then manipulate the selected keyframes. Parameter list: The Keyframe Editor parameter list contains the following controls and features: • Activation checkbox: Turns the display of parameters on and off in the keyframe graph. Activating the checkbox next to an object name turns all parameters for that object on or off for display purposes—but the animation of the object is not affected. • Name: Lists the name of the selected object and its parameters. • Value: Displays the value for the playhead position for that parameter. You can drag in the value field to set keyframe values, or double-click in the field and enter a new value. For more information, see Modifying Keyframes. • Add/Delete Keyframe button: Lets you add or delete keyframes, regardless of the status of keyframe recording (the Record button). Click the button to add a keyframe. If a keyframe exists for that parameter at the current playhead position, clicking the button deletes the keyframe. • Animation menu: Provides a pop-up menu to control animation and keyframing attributes for that parameter. To open the menu, place the pointer over the column (in the row of the parameter to modify). When the downward arrow appears, click it to open the menu. The menu contains the following items: • Enable/Disable Animation: Enables or disables keyframes for the parameter. This menu item is unavailable until keyframes are applied to the parameter. When the parameter is animated, the menu item is renamed to Disable Animation. Choosing Disable Animation hides the keyframes you have set, restoring the parameter to its default value. However, the keyframes are not discarded. Choosing Enable Animation restores the parameter to its last keyframed state. • Reset Parameter: Removes keyframes and settings for this parameter. The parameter value is restored to its default value. 114 Chapter 2 The Motion Interface • Add Keyframe: Adds a keyframe at the current frame. If the playhead is positioned on a frame where a keyframe has been added, this menu item is unavailable. A keyframe is automatically added to the last modified parameter of the object (regardless of the status of the Record button) at the current playhead position. • Delete Keyframe: Deletes the current keyframe. The Delete Keyframe command is only available if the playhead is positioned on a frame where a keyframe exists. You can also Control-click a keyframe and choose Delete from the shortcut menu, or select the keyframe and press Delete. • Previous Keyframe: Moves the playhead to the previous keyframe for this parameter. The Previous Keyframe command is only available if a keyframe exists earlier in the project. You can also press Option-K to advance to the next keyframe. • Next Keyframe: Moves the playhead to the next keyframe for this parameter. The Next Keyframe command is only available if a keyframe exists later in the project. You can also press Shift-K to advance to the next keyframe. • Interpolation: Sets the type of curve for the parameter. See the table in Modifying Curves for examples of interpolation methods. • Before First Keyframe: Defines the animation before the first keyframe of a parameter. This is called extrapolation. For examples of extrapolation methods, see Extrapolation. • After Last Keyframe: Defines the animation after the last keyframe of a parameter. This is called extrapolation. For examples of extrapolation methods, see Extrapolation. • Lock/Unlock Parameter: Locks the parameter to prevent changes. When a parameter is locked, neither keyframes nor curves are adjustable. • Reduce Keyframes: Applies a thinning algorithm to the selected parameter to reduce the number of keyframes while attempting to maintain a similar curve shape. For more information on keyframe thinning, see Keyframe Thinning. • Curve Snapshot: Reverts keyframe changes made in the selected curve to the most recent snapshot. This menu item is available only when the Take/Show Curve Snapshot button is enabled. For more information, see Keyframe Editor Control Buttons and Curve Snapshots. Keyframe Editor Control Buttons The upper-right corner of the Keyframe Editor contains six buttons that provide additional control over the Keyframe Editor window. Fit Curves Vertically Display Waveform Clear Curve List Fit Curves Horizontally Curve Snapshot Snapping Chapter 2 The Motion Interface 115 Choose Background Audio Waveform: Displays a list of available audio tracks in the project. When a track (or the Master track) is chosen, its waveform appears behind the animation curves. Use this view to sync animation with audio. Clear Curve List: Empties the parameters list. This control is active for custom curve sets. Fit Visible Curves in Window: Scales the graph vertically and horizontally (in time) to show keyframes of active parameters. Take/Show Curve Snapshot: Saves a “snapshot” of the current curve state for use as an overlay to compare with subsequent curve modifications. When this setting is enabled, as you move keyframes in the Keyframe Editor, the original curve—as it appeared when you took the snapshot—remains in its original color. The modified curve appears white. Snapping: Turns on magnetic snapping so keyframes easily line up with other keyframes, markers, grid points, and other items. Auto-Scale Vertically to Fit Curves: Turns on a view mode that stretches the graph vertically to show all curves. 116 Chapter 2 The Motion Interface Keyframe Graph The keyframe graph, located to the right of the parameter list, displays all curves and keyframes for selected parameters. Parameters are represented by different colors. Keyframes appear as diamonds, and curves appear as solid lines. Areas before the first keyframe and after the last keyframe are represented by dotted lines. Selected parameters and keyframes appear white. You can manipulate keyframes by dragging them in the graph. Moving keyframes left and right changes their position in time, while dragging them up and down changes their values. You can also double-click a keyframe, enter a number into the pop-up value field, and then press Return to change its value. Control-click a keyframe to access shortcut menu options as well as an Interpolation submenu, which allows you to change curve types. For more information on manipulating keyframes and curves in the graph, see Modifying Keyframes and Modifying Curves. Ruler At the top of the keyframe graph is a ruler that provides a visual gauge for positions and durations of keyframes and curves. The ruler is identical to the Timeline ruler. For more information on working with the ruler, see Timeline Ruler. Zooming in the Keyframe Editor The Keyframe Editor uses the same zoom/scroll control as the Timeline. Below the zoom/scroll control is the zoom slider, which zooms in and out of the graph area based on the location of the playhead. Zoom slider Scroller Handle Chapter 2 The Motion Interface 117 To zoom the Keyframe Editor using the zoom/scroll control Do one of the following: µ Drag the handle of the control away from the center to zoom out and toward the center to zoom in. µ Drag the control left to zoom right or right to zoom left. The Keyframe Editor updates as you drag. To zoom the Keyframe Editor using the zoom slider µ Drag the slider to the left to zoom out and to the right to zoom in. To zoom the Keyframe Editor using a Multi-Touch device µ Pinch open to zoom in and pinch closed to zoom out. After you zoom in, use two-finger swipes to scroll left or right. HUD The HUD (heads-up display) is a dynamically updating floating window that puts the common controls for a selected object within easy reach. For example, an image HUD contains opacity, blend mode, and drop shadow controls. 118 Chapter 2 The Motion Interface The HUD also contains controls for some effects, including Basic Motion behaviors and particle systems. For example, the 2D Particle Emitter HUD contains a single control that provides a visual way to manipulate three particle system parameters: Emission Range, Emission Angle, and Speed. These unique controls allow you to set multiple parameters simultaneously and in an intuitive way. You can read more about specific HUD controls in their namesake chapters. Note: It is easier to enter a specific value for a slider parameter in the Inspector’s value sliders. To display a HUD Do one of the following: µ Select an object, then choose Window > Show HUD (or press F7). µ Select an object, then click the Show/Hide HUD button in the toolbar (to the right of the timing display). µ Press D. Press D again to cycle through all HUDs for the selected object. To cycle the HUDs in reverse, press Shift-D. Chapter 2 The Motion Interface 119 When multiple effects are applied to an object, you can cycle through the effects’ HUDs. A small downward-facing arrow next to the HUD name indicates additional effects are applied to the selected object. The arrow indicates multiple control sets for the selected object. Click the arrow to display a pop-up menu that lists all possible HUDs that can be displayed for the selected object. When multiple objects of the same type are selected, a combined HUD appears, and “Multiple Selection” appears in its title bar. To switch between HUDs of a selected object Do one of the following: µ Click the downward arrow in the HUD title bar, then choose the HUD to view from the pop-up menu. µ Press D to cycle through all HUDs for the selected object. To cycle the HUDs in reverse, press Shift-D. The HUDs are cycled in the order in which the effects are applied. 120 Chapter 2 The Motion Interface Most of the time, the HUD displays a subset of the parameters visible in the Inspector for the selected object. If you are working in the HUD, you can jump to the Inspector to access the remainder of the controls for that object. To jump to the Inspector from the HUD µ Click the Inspector icon (the “i”) in the upper-right corner of the HUD. The Inspector corresponding to the HUD appears. Text Field Shortcut Menu Any text field in Motion has a shortcut menu that allows you to edit the text in that field. These fields include Inspector value fields and name fields in the Layers, Timeline Layers, Media, and Audio lists. This shortcut menu includes the following options: • Search (Spotlight or other search engine) • Look Up in Dictionary • Cut, Copy, and Paste • Spelling and Grammar (Show, Check, and Correct options) • Substitutions (such as Replace Quotes or Replace Dashes) • Transformations (such as Make Upper Case or Capitalize) • Speech (Start Speaking or Stop Speaking) To use the text field shortcut menu 1 Double-click a text or value entry field to make the text editable. 2 Control-click the field, then select an item from the shortcut menu. Chapter 2 The Motion Interface 121 In Motion, you build and modify a composition by adjusting parameters—numeric attributes that define each characteristic of the objects, clips, and effects comprising a project. Although there are thousands of parameters in Motion, you can adjust most of them using a small set of intuitive user interface controls. This chapter describes each of those parameter controls—buttons, sliders, pop-menus, and other interface tools. This chapter covers the following: • Toolbar Controls (p. 123) • Slider Controls (p. 124) • Coordinate Controls (p. 125) • Dial (p. 126) • Value Field (p. 127) • Activation Checkbox (p. 127) • Menus (p. 127) • Source Well (p. 129) • Color Controls (p. 129) • Gradient Controls (p. 132) • Generic Inspector Controls (p. 141) • Rasterization Indicator (p. 142) Toolbar Controls The Motion toolbar is located in the middle of the main window, underneath the Project pane and Canvas. The left side of the toolbar contains controls to create and edit elements such as text, shapes, and masks. The center of the toolbar contains the timing display. The right side of the toolbar includes buttons that: • Show or hide the heads-up display (HUD) 123 User Interface Controls 3 • Add cameras, lights, or generators • Apply filters and behaviors • Create particle systems and replicators Toolbar controls with multiple modes or options are available as pop-up menus, identifiable by a small downward arrow in the lower-right corner. For example, the default Rectangle Mask tool can be set to Rectangle, Circle, Freehand, Bezier, or B-Spline mode. To access a toolbar control’s additional modes or options µ Click any tool with a small downward arrow in the lower-right corner, and, holding down the mouse button, choose a mode or option from the pop-up menu. For a description and use of each tool, see Toolbar. Slider Controls Sliders are used for parameters that span a range of numeric values. Sliders are by far the most common control type in Motion. Basic Sliders Sliders are used to set values in a fixed range. For example, opacity must fall between 0% and 100%. Drag the slider to set a value anywhere within that range. Although sliders are fixed-range controls, some parameters can be set to values outside of that limited range. For those parameters, a second type of slider control is available: a value slider, which is described in the next section. For example, the Amount slider in the Gaussian Blur filter has a default range of 0 to 64, but can be set as high as 600 using the accompanying value slider. To change the value of a basic slider µ Drag the slider to the left to decrease values and to the right to increase values. µ Option-click to the left or right of the slider to decrease or increase by a value of 1. 124 Chapter 3 User Interface Controls Value Sliders Although basic sliders are fixed-range controls, some parameters can be set to values outside of a limited range. For those parameters, a second type of slider control is often available, known as a value slider. A value slider appears as light gray number, often to the right of a basic slider. For example, the Amount parameter in the Gaussian Blur filter has a basic slider with a default range of 0 to 64; however, you can adjust this parameter up to 600 using the adjacent value slider. There are two ways to adjust a value slider: by dragging over the number, left or right, to decrease or increase the parameter value; or by double-clicking the number, then entering a new value. Parameters with effectively infinite ranges, such as Scale, can be set to any positive or negative value. The value slider can display up to 18 digits to accommodate large values. To modify the value of a parameter using a value slider Do one of the following: µ Drag right or left over the numbers to increase or decrease the value. To change the value in larger increments, press Shift while dragging. To change the values in smaller increments, press Option while dragging. µ Click or double-click the number, then enter a value in the field. Coordinate Controls Parameters that define a specific location in the Canvas are controlled using three value sliders to set the X, Y, and Z coordinates. Parameters that define a specific location in a two-dimensional object have two value sliders, for X and Y coordinates. Note: In most cases, only the X and Y axis value sliders are visible, and clicking a disclosure triangle displays both value sliders in a vertical stack. For 3D groups operating with three dimensions, the additional Z axis value slider is revealed by clicking the disclosure triangle next to the parameter name. Chapter 3 User Interface Controls 125 The most common example of this type of control is the Position parameter, which places the center point for an object at a given position in the Canvas. But coordinate controls are used for a parameter that defines a position in the Canvas—the center of a lens flare or the origin of a particle system, for example. Additionally, most coordinate parameters can be set by moving an object or onscreen control in the Canvas. For example, the Center parameter of the Radial Blur filter exposes a coordinate onscreen control in the Canvas you can use to adjust the epicenter of this effect visually rather than numerically. To modify a coordinate value in the inspector µ Use the value sliders for the X, Y, and (when applicable) Z axes. µ If a coordinate onscreen control is visible in the Canvas, drag it to another location. For more information on using value sliders, see Value Sliders. Dial Parameters measured in degrees (such as Rotation or Hue) employ the dial control. Some parameters are limited to a value between 0 and 360 degrees. If you rotate such a dial more than one revolution, the numbers repeat. Other parameters can be set to negative values or multiple rotations. Dials have a value slider beside them to indicate the value set by the dial. Dial value sliders can be manipulated directly as well. To adjust a parameter using a dial Do one of the following: µ Drag the dial in a clockwise or counterclockwise direction to increase or decrease the value. µ Adjust the value slider to the right of the dial. For more information on working with value sliders, see Value Sliders. 126 Chapter 3 User Interface Controls Value Field This control allows direct entry of text to set the value of the parameter. An example of a parameter that uses a value field is the text-entry field. Motion also uses numeric value fields. Activation Checkbox A parameter that must be on or off uses a checkbox control. For example, the All Caps and Align to Path settings for text objects are controlled with checkboxes. Unlike parameters with sliders and dials, parameters controlled by a checkbox cannot be keyframed. Note: Filters and Behaviors in the Inspector have special checkboxes that turn an effect on and off. These checkboxes are blue when the effect is turned on, and gray when the effect is turned off. To activate or deactivate a parameter controlled by a checkbox µ Click the checkbox. Menus Motion uses a variety of menus and menu-like controls. These include pop-up menus, value lists, parameter selection menus, and tracking selection menus. Menus cannot be keyframed. Chapter 3 User Interface Controls 127 Pop-Up Menu Parameters that have a predefined set of options are controlled with pop-up menus. In some cases the choices available in the pop-up menu change depending on the settings of other related parameters. Several varieties of pop-up menus appear throughout the Motion interface, but they function identically. To change the value of a pop-up menu µ Click the menu and choose an item from the list. Parameter Selection Menu The parameter selection menu is a special type of pop-up menu, specifically for Parameter behaviors. Usually labeled “Apply To,” the parameter selection menu appears in the Behaviors Inspector after you apply a Parameter behavior. The menu consists of a display field listing the parameter that the behavior is modifying and a To pop-up menu from which you can choose a different target parameter. 128 Chapter 3 User Interface Controls Source Well Many effects in Motion apply specific parameters from one object to another. For example, the Bump Map filter applies texture from object A to object B. The Orbit Around behavior causes object C to circle around object D. You set these object relationships using a control known as a source well (sometimes called an Image well). A source well is an empty box into which you drag a source object to influence a target object. To use a source well µ Drag an object from the File Browser, Library, Layers list, or Media list into the empty box. The name and a thumbnail of the source object appears in the well and is used as a source for the effect. To replace the contents of a source well µ Drag an object onto the well. The old source is replaced with the new one. To clear a source well µ Drag the icon in the well out. The well is emptied. Color Controls Many objects and effects in Motion have adjustable color attributes. You can modify color parameters using a few standard controls, including the color well, pop-up color palette, Mac OS X Colors window, eyedropper, and color channel sliders. Color Well A color well is the small color box you click to open the Mac OS X Colors window to choose a new color for the selected object. The color well has two parts: a color swatch that displays the currently applied color and a downward arrow. To change the color of an object using a color well µ Click the swatch, then pick a color from the Mac OS X Colors window. For more information, see The Colors Window. µ Click the color well’s downward arrow or control-click the color well, then pick a color from the Motion pop-up color palette. µ Click the eyedropper, then click an object of the desired color in the Canvas. Chapter 3 User Interface Controls 129 µ Click the disclosure triangle on the left side of the color controls to expose individual Red, Green, Blue, and, when applicable, Opacity sliders. Pop-Up Color Palette When you control-click a color well or click the adjacent downward arrow, the Motion pop-up color palette appears. Click in the top area to select a color from the spectrum of hues, saturation, and lightness. Click in the bottom gradient to select a grayscale value. As you drag in either area, the pointer becomes an eyedropper, the column on the right displays the RGB and HLS values for the sampled colors, and two swatches above the RGB information display the current and sampled colors. As you sample in the spectrum, the selected object in the Canvas updates dynamically. The Colors Window You can also use the Mac OS X Colors window in Motion, giving you access to the familiar color pickers such as the Web Safe Colors palette or the Crayons palette. Current color Saved color swatches Picker interfaces Current color picker 130 Chapter 3 User Interface Controls The Colors window has four sections: the icons at the top select picker interfaces; the large color swatch shows the current color; the middle section shows the active picker; and the row of boxes can be used to save swatches. To show the Colors window Do one of the following: µ Click a color well. µ Choose View > Show Colors. µ Press Command-Shift-C. To pick a color in the Colors window Do one of the following: µ Click a color in the color picker area. µ Click the magnifying glass, then click anywhere on the computer screen to choose a color. Note: When you open the Colors window by clicking a Motion color well, the color you click in the Colors window loads into the well, and the selected object in the Canvas changes color. However, when you open the Colors window from the View menu (or by pressing Command-Shift-C), clicking a color in the Colors window does not load the color into the well or change the selected object. In this case, drag a color swatch from the Colors window to the color well. Similarly, if you leave the Colors window open and select a another object in the Canvas, clicking in the Colors window does not change the newly selected object. To save a color to the Colors window saved swatch area 1 Select a color in the picker or by using the magnifying glass. 2 Drag the color from the large swatch to a white square at the bottom of the Colors window. Colors saved in this area remain accessible across applications and restarts. Tip: To add white squares, drag the bottom of the Colors window down. Eyedropper An eyedropper control beside the color well lets you pick a color in use in the Motion Canvas. By choosing from colors in your scene you ensure that elements remain in the same palette, creating a more cohesive and integrated design. To pick a color using the eyedropper 1 In the Inspector, click the eyedropper for the color parameter you want to set. The pointer turns into an eyedropper. 2 Click a color in the Canvas. That color is assigned to the color well. Chapter 3 User Interface Controls 131 Expanding Color Controls Sometimes you need precise numerical control over colors. You might also need to match two colors exactly or adjust a color channel independently. Every set of color controls has a disclosure triangle, which, when clicked, reveals sliders for the Red, Green, and Blue color channels. You can choose or fine-tune a color by adjusting these sliders. Among other uses, these controls are handy when you need to keyframe each color channel differently. For more information on using sliders, see Slider Controls. Gradient Controls Most attributes that can be filled with a color can also be filled with a gradient. Like color controls, gradient controls are a group of compound settings with additional options revealed when you click the disclosure triangle. Gradient preset pop-up menu Gradient Preset Pop-up Menu When the gradient controls are collapsed, you can select a preset gradient from the Gradient preset pop-up menu, located to the right of the gradient bar. To change the current gradient to a saved preset µ Click the Gradient preset pop-up menu and choose a gradient preset from the list. The new gradient is shown in the gradient bar and applied to the selected object in the Canvas. 132 Chapter 3 User Interface Controls Gradient Editor To customize or modify a gradient, click the disclosure triangle in the Gradient row to expand the controls and reveal the gradient editor. Controls in the Gradient Editor Use the gradient editor to change the color, color position, number of colors, opacity, direction, and interpolation of a gradient. Click the disclosure triangle in the Gradient row to reveal the gradient editor, which comprises a graphical control and additional subparameter controls. The color and opacity of a gradient can be animated. Important: This section covers common gradient editor controls. However, the gradient editor in the Style pane of the Text Inspector has an additional Angle parameter. Graphical controls: Three horizontal bars that let you set and preview the opacity, color, and spread of a gradient. The narrow, white top bar (the opacity bar) controls opacity and transparency in the gradient. Adjust the spread of opacity across the gradient by dragging one of the small box-shaped opacity tags horizontally along the bar. Click in the opacity bar to add opacity tags, creating a gradient with varying levels of transparency. Delete an opacity tag by dragging it away from the color bar. Change the value of an opacity tag by selecting it and dragging the Opacity slider (described below). Opacity tags have a value range of 0% (completely transparent) to 100% (completely opaque). Adjust the transition between two opacity tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). By default, the opacity of a gradient applied to text is 100%. The wide middle bar shows a preview of the current gradient. Chapter 3 User Interface Controls 133 The narrow bottom bar (the gradient bar) controls color in the gradient. Adjust the spread of color across the gradient by dragging one of the small box-shaped color tags horizontally along the bar. Click in the gradient bar to add more color tags. Delete a color tag by dragging it away from the gradient bar. Change the value of a color tag by selecting it and choosing a color from the color well below, or by double-clicking the tag and choosing a color from the Colors window. Adjust the transition between color tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). Selecting a color tag activates the Color and Location controls (described below). Selecting an opacity tag activates the Opacity slider (described below). Selecting a middle control activates the Middle slider (described below). Color: A color well and eyedropper that sets the hue of a selected color tag in the gradient bar. For more information about color wells, see Color Well. Opacity: A slider that sets the transparency of a selected opacity tag in the opacity bar. Values range from 0% (completely transparent) to 100% (completely opaque). Interpolation: A pop-up menu that sets the interpolation of a selected color tag or opacity tag. There are three options: • Constant: Creates a constant color distribution from the color or opacity tag, moving from left to right in the gradient. For example, if the left color tag is set to Constant, the area of the gradient between that tag and the next one to the right is a single, solid color. Tag set to Constant Tag set to Linear Tag set to Continuous • Linear: Creates a uniform distribution of opacity or color between the tags. • Continuous: Sets an adjustable rate of change between adjacent opacity or color tags. Adjust the rate of change by dragging a middle control in the opacity bar or gradient bar, or by dragging the Middle slider (described below). Middle: A slider that duplicates the function of the middle controls in the opacity bar and gradient bar, adjusting the transition point between opacity tags or color tags. When you select a middle control, the Middle slider becomes available. Location: A slider that adjusts the location of a selected opacity tag or color tag. Type: A pop-up menu that lets you choose a linear or radial gradient. 134 Chapter 3 User Interface Controls Start: Value sliders that set the start position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X start position of the gradient. • Y: Controls the Y start position of the gradient. End: Value sliders that set the end position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X end position of the gradient. • Y: Controls the Y end position of the gradient. Using the Gradient Editor The gradient editor is a flexible and powerful tool, allowing you to create custom styles. To change the colors in a gradient 1 Click the Gradient disclosure triangle to show the gradient editor. 2 To change the color of a color tag in the gradient editor, do one of the following: • Double-click a color tag. Double-click a color tag to open the Colors window The Colors window appears. Use the Colors window to set a color for the tag. • Click a color tag, click the disclosure triangle to the left of Color parameter name, then adjust the Red, Green, and Blue color channel sliders. Chapter 3 User Interface Controls 135 • Control-click a color tag to display the pop-up color palette. Drag the eyedropper in the palette to select a color. Drag in the lower palette to set the tag to a grayscale color. • Click a color tag, then Control-click the color well to display the pop-up color palette. • Click a color tag, click the eyedropper tool, then click a color in the Canvas. To move the position of a color tag or opacity tag 1 Click the color tag or opacity tag to move. 2 Do one of the following: • Drag the color tag left or right. • Use the Location slider (or adjacent value slider) to modify the position of the selected tag. A value of 100% is the rightmost position of the gradient, and a value of 0% is the leftmost position of the gradient. To change the transition midpoint between adjacent color or opacity tags µ Drag the small triangle between adjacent color tags or opacity tags to change the point where one tag’s effect ends and the next tag’s effect begins. The closer the middle control is to a tag, the sharper the color or opacity transition. Middle control Note: The middle control does not appear for color or opacity tags set to Linear or Constant. To change the color or opacity tag interpolation µ Click a tag, then choose Constant, Linear, or Continuous from the Interpolation pop-up menu. To add a color tag to a gradient µ Position the pointer in the lower gradient bar where you want to add the new color, then click. 136 Chapter 3 User Interface Controls A new color tag is added to the gradient. Click the lower color bar to add a color tag. Note: Although the color, opacity, and position of the tags of a gradient can be animated, the number of color tags and opacity tags cannot. To add an opacity tag to a gradient µ Position the pointer in the opacity bar where you want to add the tag, then click. A new opacity tag is added to the gradient. Until the value is adjusted, the gradient opacity is 100%. To duplicate a color or opacity tag µ Option-drag the tag to a position. To remove a color or gradient tag from the gradient µ Drag the tag away from the gradient bar. The tag is removed. To change the opacity in a gradient 1 Click an opacity tag. The Opacity slider is enabled. Opacity tag Opacity slider 2 Use the Opacity slider or adjacent value slider to change the level of transparency. The gradient transparency reflects the new opacity values. Chapter 3 User Interface Controls 137 Tip: The lower the percentage of the opacity, the greater the transparency. Editing Color and Opacity Direction and Distribution You can reverse the direction or evenly distribute the gradient color and opacity tags. To reverse the gradient color or opacity direction µ Click the Reverse Tags icon next to the opacity or color bar. Reverse tags (opacity) Reverse tags (color) The tags are reversed. To evenly distribute the gradient color or opacity tags µ Click the Distribute Tags icon next to the opacity or color bar. Distribute tags (opacity) Distribute tags (color) To change the direction of a shape’s gradient 1 With the shape selected and the Inspector open, click the Gradient disclosure triangle to show the gradient editor. 2 Use the Start and End value sliders to change the direction of the gradient. Saving Gradient Presets As with shape styles, after you create a gradient, you can save it in the Library. To save a gradient in the Library 1 Select the object with the gradient to save. 2 From the Gradient preset pop-up menu, choose Save Gradient. 3 In the Save Preset To Library dialog, enter the name of the gradient. 4 Click Save. 138 Chapter 3 User Interface Controls The custom gradient appears in the Gradients category in the Library. Custom presets can be identified in the Library by the small user badge that appears in the lower-right corner of the larger gradient icon. The gradient also appears in the Gradient preset pop-up menu. Using Onscreen Gradient Controls Onscreen controls provide a more interactive way to edit a gradient’s color, location and value of color tags and opacity tags, and start and end points. You can also use onscreen controls to add color tags and opacity tags, as well as change their interpolation. Opacity tag End triangle Start triangle Color tags To display the onscreen gradient controls Do one of the following: µ In the Canvas, Control-click the object with the applied gradient, then choose Edit Gradient from the shortcut menu. µ Choose the Adjust Item tool from the 2D transform tools pop-up menu. The onscreen controls appear. To adjust the start and end gradient positions µ To adjust the Start X and Y position of the gradient, drag the top triangle (at the end of the gradient line). µ To adjust the End X and Y position of the gradient, drag the bottom triangle (at the end of the gradient line). To change the location of gradient tags µ To change the location of gradient colors, drag the color tags along the gradient line. µ To change the location of the gradient opacity, drag the opacity tags along the gradient line. Chapter 3 User Interface Controls 139 To remove a color or opacity tag µ Drag the color tag or opacity tag away from the gradient line and release the mouse button. To add a color tag Do one of the following: µ Double-click the gradient control line. µ Control-click the gradient control line where you want the tag, then choose Add Color Tag from the shortcut menu. µ Option-click the gradient control line where you want the tag. To duplicate a color or opacity tag µ Option-drag the tag to a position. To change the color of a gradient tag µ Control-click the tag, then drag the eyedropper in the pop-up color palette to select a color. As you drag over the color spectrum, the gradient color is actively updated. To add an opacity tag Do one of the following: µ Control-click the gradient control line where you want the tag, then choose Add Opacity Tag from the shortcut menu. By default the tag is set to 100% opacity. µ Option-Shift-click the gradient control line at the location where you want the tag. To change an opacity tag’s transparency µ Control-click the tag, then drag the eyedropper in the pop-up palette to set an opacity value for the tag. White represents more opaque values; progressively darker levels of gray represent decreasing opacity; and black represents complete transparency. As you drag over the spectrum, the gradient is actively updated. To change a color tag’s interpolation µ Control-click the gradient control line next to the tag, then choose Constant, Linear, or Continuous from the Color Interpolation submenu. To change an opacity tag’s interpolation µ Control-click the line next to the tag, then choose Constant, Linear, or Continuous from the Opacity Interpolation submenu. To reverse the direction of the color gradient µ Control-click the gradient control line, then choose Reverse Color from the shortcut menu. To reverse the direction of the opacity gradient µ Control-click the gradient control line, then choose Reverse Opacity from the shortcut menu. 140 Chapter 3 User Interface Controls To evenly distribute the gradient color tags µ Control-click the gradient control line, then choose Distribute Color from the shortcut menu. To evenly distribute the gradient opacity tags µ Control-click the gradient control line, then choose Distribute Opacity from the shortcut menu. To apply a preset gradient style µ Control-click the gradient control line, choose Presets from the shortcut menu, then choose a preset style from the submenu. Generic Inspector Controls In addition to the parameter control types listed above, several other controls are widely used in the Inspector. Show/Hide button: A hidden button that exposes or conceals a group of parameters in the Inspector. When you hold the cursor over the right side of a group header (to the left of the Reset button), the Show/Hide button appears. Click Show to display the parameters. Click Hide to conceal the parameters. Click to show or hide a group of controls. Reset button: A curved arrow button on the ride side of a parameter row. Click the Reset button to restore a parameter (or in some cases, a set of parameters) to the default value. Reset Chapter 3 User Interface Controls 141 Preset pop-up menu: A pop-up menu, found in various Inspectors, used to choose a preset text, shape, gradient, or other style to apply to an object. These are the same presets found in the Motion Library. For example, the Shape Style preset pop-up menu lets you apply a style to the selected shape (including paint strokes). Through this menu, you can also save custom text and shape presets to the Library. Animation menu: A hidden pop-up menu on the right side of many parameter rows in the Inspector. The Animation menu lets you perform animation- and parameter-related tasks: adding keyframes, assigning Parameter behaviors, managing rigs, and so on. To open an Animation menu in the Inspector, move the pointer to the right side of the parameter you want to animate and, when the downward arrow appears, click it. For more information on animating parameters using options in the Animation menu, see Animation Menu. Rasterization Indicator In the Properties Inspector, a small red “R” indicator appears when a group becomes rasterized. This icon is called a rasterization indicator. The rasterization indicator is not a control; it is an alert telling you that a group is rasterized. 142 Chapter 3 User Interface Controls Some operations, as well as the application of specific filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. Rasterization affects 2D and 3D groups in different ways. When a 2D group is rasterized, the blend modes on objects within the group no longer interact with objects outside the group. When a 3D group is rasterized, the group cannot intersect with objects outside the group. The rasterized 3D group is treated as a single object and uses layer order, rather than depth order when being composited in the project. When the adjustment of a parameter triggers rasterization of a group, a rasterization indicator appears to the left of that parameter’s name in the Properties Inspector. Additionally, a frame appears around the 2D or 3D group icon (the stack icon to the left of the group name) in the Layers list and Timeline. For more information on rasterization, see About Rasterization. Chapter 3 User Interface Controls 143 The Motion menu bar provides access to most controls in the application. Many menu items are context-sensitive, that is, they change depending on the current state of the Motion application. For example, a menu item might appear dimmed when a command cannot be performed based on the current state of the application or what is selected. Many of these commands have shortcut keys that perform the same command from the keyboard. These shortcuts are listed in parentheses after the description. This chapter covers the following: • Application Menu (p. 145) • File Menu (p. 146) • Edit Menu (p. 148) • Mark Menu (p. 150) • Object Menu (p. 152) • Favorites Menu (p. 155) • View Menu (p. 155) • Share (p. 162) • Window Menu (p. 163) • Help Menu (p. 164) Application Menu The first Motion menu contains general functions to control the application, modify the preferences, and access the Apple website. It also provides access to system-level services. • About Motion: Opens the About Motion window, which contains version, registration, and trademark information. • Preferences: Opens Motion Preferences. See Preferences for a detailed description of the settings in that window. 145 Motion Menus 4 • Commands: Opens a submenu of items for customizing keyboard shortcuts: • Customize: Opens the Command Editor. For more information, see Using the Command Editor. • Import: Opens a dialog that allows you to import a customized key command set. • Export: Opens a dialog that allows you to export a customized key command set. • Command Sets: Allows you to load a customized key command set. • Final Cut Pro Set: Sets the active keyboard to match the default key command layout in Final Cut Pro X wherever possible. Select from English, Japanese, French, or German. • Standard Set: Sets the active keyboard to the default key command layout. Select from English, Japanese, French, or German. Note: For information on customizing your shortcut keys, see Customizing Keyboard Shortcuts. • Provide Motion Feedback: Opens a web page where you can send comments to Apple about Motion. • Download Additional Content: Downloads additional Motion Library content such as templates, particle emitters, and replicators when your computer is connected to the Internet. • Services: A system menu item that provides access to commands that work across different applications. See Mac OS X Help for more information about this submenu. • Hide Motion: Hides all Motion windows. (Command-H) The application is still running in the background. You can bring it back to the front by clicking the Motion icon in the Dock. • Hide Others: Hides windows from all applications other than Motion. (Command-Option-H) • Show All: Shows all windows from all applications currently running. • Quit Motion: Stops the application from running. You are prompted to save your open document. (Command-Q) File Menu This menu contains functions and commands that deal with files on your disk associated with Motion. • New: Opens the Project Browser dialog, where you can choose a project type or template to create a document. If a default project is set in the Project pane of Motion Preferences, a new document is created with that setting. (Command-N) • New From Project Browser: Use this option to create a project from the Project Browser dialog. (Command-Option-N) 146 Chapter 4 Motion Menus • Open: Opens a Finder dialog where you can choose a Motion project to open. (Command-O) • Open Recent: Opens a submenu that lists the most recently opened files, giving you quick access to the projects you have been working on recently. You can clear the list by choosing Clear Menu from the bottom of the submenu. • Close: Closes the current project. If the project has not been saved, Motion asks you to save the project before closing the window. (Command-W) • Save: Stores the current state of the project to disk. If the current project is a Final Cut Title, Final Cut Generator, Final Cut Transition, or Final Cut Effect, the Publish window is appears. (Command-S) • Save As: Saves the current state of the project with a new name. If the current project is a Final Cut Title, Final Cut Generator, Final Cut Transition, or Final Cut Effect, the Publish window appears. (Command-Shift-S) • Publish Template: Available when the current project is a standard Motion project, saves the current project as a Motion template or a Final Cut Generator template (for use in Final Cut Pro X). When saved, Motion templates appear in the Compositions category in the Motion Project Browser; Final Cut Generators appear in the Final Cut Pro Generators category in the Motion Project Browser; and so on. For more information on working with templates, see Creating Templates for Final Cut Pro X. • Revert to Saved: Restores the selected project to the last saved state. All of the work done after the last save is lost. Use caution; you cannot undo this operation. • Restore from Autosave: Displays a dialog where you can choose a project previously saved to the Autosave Vault. For more information on the Autosave Vault, see Autosave. • Import: Opens the Import Files dialog and lets you choose a file from disk to import into your project. (Command-I) • Import as Project: Displays the “Import File as Project” dialog. A new project is created from the chosen file, using the file’s dimensions and duration. If multiple items are selected, they are all placed in the same project. Additional options are available if an image sequence is selected. (Command-Shift-I) For more information, see Opening and Closing Projects. • Reconnect Media: When a layer in your project refers to a file on disk that has been moved or modified, this command allows you to reestablish that link. • Remove Unused Media: When a media item is imported into the Media list (and not into the project), this command allows you to remove the item from your project. • Remove Optical Flow Retiming: When a media item has been processed for retiming, choosing this menu flushes the retiming information file. For more information on optical flow retiming, see Retiming. Chapter 4 Motion Menus 147 • Page Setup: Displays the standard system Page Setup dialog where you can set paper size and orientation for printing. (Command-Shift-P) • Print: Displays the standard system Print dialog, where you can print the contents of the Canvas. (Command-P) Edit Menu This menu contains familiar commands such as Undo, Cut, Copy, and Paste and also contains commands to select and delete objects, modify project properties, and control the Motion spelling checker. • Undo: This command is usually followed by the name of the last command performed—for example, Undo Move, or Undo Rotation Change. Choosing this menu item restores the project to the state before that action was taken. If the menu item is dimmed, you cannot undo. (Command-Z) • Redo: This command is usually followed by the name of the last command performed such as Redo Move or Redo Rotation Change. It is only active if one or more actions have been undone. Choosing this menu item performs the exact action that was just undone. (Command-Shift-Z) • Cut: Removes the selection and stores it on the Clipboard so it can be pasted later. (Command-X) • Copy: Copies the selection and stores it on the Clipboard so it can be pasted later. (Command-C) • Paste: Adds the current Clipboard selection to the project based on the current selection. This command is not available if nothing is on the Clipboard or if the contents of the Clipboard cannot be pasted to the current selection—for example, text cannot be pasted onto a keyframe. (Command-V) • Paste Special: Gives you the choice to paste the contents of the Clipboard into the active Timeline by inserting (pushing existing objects out of the way) or exchanging or overwriting (replacing existing objects with the selected object). Additional options are available. (Command-Option-V) For more information, see Paste Special. • Duplicate: Makes a copy of the current selection and immediately adds it to the project. (Command-D) • Delete: Removes the current selected object, leaving a gap in the Timeline. (Delete) • Ripple Delete: Removes the selected object and closes the gap in the Timeline. (Shift-Delete) • Insert Time: Adds blank space into the Timeline. You can only use Insert Time after selecting a time region in the Timeline ruler. For more information on regions, see Working with Regions. 148 Chapter 4 Motion Menus • Split: Breaks an object into two objects, each on its own Timeline track. The split occurs at the current playhead position. If no object is selected, or the playhead is not positioned over a selected object, this menu item is dimmed. • Transform Control Points: When multiple control points of a shape or mask are selected, choosing this command creates a transform box around the points. (Command-Shift-T) For more information, see Transforming Multiple Control Points. • Select All: Selects all objects in the project. (Command-A) • Deselect All: Releases any objects selected in the project. (Command-Shift-A) • Project Properties: Selects the Project object in the Layers list and opens the Properties Inspector. Use this pane to change the settings for the project. (Command-J) For details about the Properties Inspector, see Project Properties. • Spelling and Grammar: This submenu contains spell-checking controls that allow you to search through the selected text for spelling and grammatical errors. For more information on using the spelling checker, see Adding Text with the Text Editor. • Show/Hide Spelling and Grammar: Opens the system Spelling and Grammar dialog. This command is active only when a body of text is selected (in the Layers list, Canvas, or Text editor). For more information, see Mac OS X Help. (Command-Colon) • Check Document Now: When text is selected in the Text editor (the text-entry area in the Format pane) in the Text Inspector, this command turns on the spelling checker for the selected text. Mistyped or misspelled text is underlined in red. This command functions on text in the Text editor, but not in the Canvas. (Command-Semicolon) • Check Spelling While Typing: Available when text is selected in the Text editor in the Format pane of the Text Inspector, turns automatic spell checking on and off. When active, a checkmark appears next to the menu item. This command functions on text in the Text editor, but not in the Canvas. • Check Grammar With Spelling: Available when text is selected in the Text editor in the Format pane of the Text Inspector, turns automatic grammar checking on and off. When active, a checkmark appears next to the menu item. Text with potential grammatical errors is underlined in red. This command functions on text in the Text editor, but not in the Canvas. • Correct Spelling Automatically: Available when text is selected in the Text editor in the Format pane of the Text Inspector, corrects misspelled words that do not begin with a capital letter or that appear on a line of their own. This command functions only on text in the Text editor, not in the Canvas. • Find and Replace: Opens the Find and Replace dialog, which allows you to locate and change a word (or any set of characters) that you’ve used in a Motion project. For more information, see Finding and Replacing Text. Chapter 4 Motion Menus 149 • Special Characters: This command is part of Mac OS X. It opens the Characters Palette, which provides access to nontypical text characters like bullets, arrows, and currency icons. It can be used when typing in a text object in the Canvas, or when typing in the Text editor in the Text Inspector. Mark Menu This menu contains commands to set the beginning and end points of your objects, add markers to the Timeline, navigate through your project, and control animation of effects. • Mark In: This command does two things. If no object is selected, it sets the beginning frame of the play range to the current playhead position. If an object is selected, it trims the In point for that object to the current playhead frame. (I) • Mark Out: This command does two things. If no object is selected, it sets the ending frame of the play range to the current playhead position. If an object is selected, it trims the Out point for that object to the current playhead position. (O) • Move Selected In Point: This command moves the selected object or objects so the In point aligns with the current playhead position. (Shift-Left Bracket) • Move Selected Out Point: This command moves the selected object or objects so the Out point aligns with the current playhead position. (Shift-Right Bracket) • Markers: This submenu contains all of the controls for creating, modifying, and deleting markers. For more information on using markers, see Adding Markers. • Add Marker: Adds a marker at the current playhead frame. If an object is selected, an object marker is added. If no object is selected, a project marker is added. (M or the Tilde key to add an object marker; Shift-M to add a project marker) • Edit Marker: Opens the Edit Marker dialog, where you can set a marker’s name, type (for project markers), color, duration, and comment. A marker must be selected for this menu item to be active. (Command-Option-M) • Delete Marker: Removes the selected marker from the project. • Delete All Markers: Removes all markers from the selected object. If no object is selected, it deletes all project markers. • Mark Play Range In: Sets the play range In point to the location of the playhead. (Command-Option-I) • Mark Play Range Out: Sets the play range Out point to the location of the playhead. (Command-Option-O) • Reset Play Range: Moves the play range In and Out points to the first and last frame of the project. (Option-X) • Play: Starts playback of the project. (Space bar) 150 Chapter 4 Motion Menus • Loop Playback: Turns looping on and off. When looping is enabled, playback repeats from the beginning of the play range after the end is reached. (Shift-L) • Record Animation: Turns keyframe recording on and off. For more information on recording animation, see Using the Record Button. • Recording Options: Opens the Recording Options dialog, where you can define user preferences for keyframe recording. For more information, see Recording Options. • Go to: This submenu contains commands to navigate to a specific frame in a project. These commands move your playhead to a new location: • Project Start: Moves the playhead to the first frame of the project. (Home) • Project End: Moves the playhead to the last frame of the project. (End) • Play Range Start: Moves the playhead to the project In point. (Shift-Home) • Play Range End: Moves the playhead to the project Out point. (Shift-End) • Previous Frame: Moves the playhead backward by one frame. (Left Arrow) • Next Frame: Moves the playhead forward by one frame. (Right Arrow) • 10 Frames Back: Moves the playhead backward ten frames. (Shift-Left Arrow) • 10 Frames Forward: Moves the playhead forward ten frames. (Shift-Right Arrow) • Previous Keyframe: Moves the playhead to the previous keyframe in the project. (Option-K) • Next Keyframe: Moves the playhead to the next keyframe in the project. (Shift-K) • Previous Marker: Moves the playhead to the closest marker earlier in time. (Command-Option-Left Arrow) • Next Marker: Moves the playhead to the closest marker later in time. (Command-Option-Right Arrow) • Selection In Point: Moves the playhead to the first frame of the selected object. (Shift-I) • Selection Out Point: Moves the playhead to the last frame of the selected object. (Shift-O) • RAM Preview: This submenu contains commands to play back your project in real time, by temporarily storing the frames in a RAM buffer. For more information on how and when to use the RAM Preview functions, see RAM Preview. • Play Range: Renders the area between the project In and Out points and stores the frames in RAM. After the frames are stored, the region plays back at full speed. (Command-R) • Selection: Renders the range of time occupied by the selected objects and stores the frames in RAM. After the frames are stored, the region plays back at full speed. (Command-Option-R) Chapter 4 Motion Menus 151 • All: Renders the entire project and stores the frames in RAM. After the frames are stored, the region plays back at full speed. (Command-Shift-Option-R) • Clear RAM Preview: Clears the RAM cache. Object Menu This menu contains all commands for manipulating objects in Motion. This includes their placement in the layer hierarchy and physical alignment in the Canvas. • New Group: Adds a new empty group to the project. (Command-Shift-N) • New Camera: Adds a new camera to the project, and lets you specify whether to use 2D or 3D mode. (Command-Option-C) • New Light: Adds a new light to the project, and lets you specify whether to use 2D or 3D mode. (Command-Shift-L) • New Drop Zone: Adds a new drop zone to your project. Drop zones allow you to replace footage in a project by dropping clips onto the Canvas. A drop zone appears as a large arrow placeholder graphic. The drop zone’s layer name appears in the center of the drop zone. Any media item dragged and dropped into the region defined by the drop zone object replaces the placeholder graphic. When media is dragged over the drop zone, a highlight appears around the drop zone area. (Command-Shift-D) • New Rig: Adds a new rig to the project. Rigging allows you to create complex animations that are easy to modify. This is done by aggregating many separate parameters into a single control, such as a slider or pop-up menu. For more information, see Using Rigs. • Bring to Front: Moves the selected object to the top of the layers in a group. (Command-Right Brace) • Send to Back: Moves the selected object to the bottom of the layers in a group. (Command-Left Brace) • Bring Forward: Moves the selected object upward in the Layers list by one object. (Command-Right Bracket) • Send Backward: Moves the selected object downward in the Layers list by one object. (Command-Left Bracket) • Alignment: This submenu contains all commands for aligning and distributing multiple objects in the Canvas. For more information on arranging objects in the Canvas, see Using Object Alignment Commands. • Align Left Edges: Moves the selected objects so their left edges line up with the leftmost edge in the selection. • Align Right Edges: Moves the selected objects so their right edges line up with the rightmost edge in the selection. 152 Chapter 4 Motion Menus • Align Top Edges: Moves the selected objects so their top edges line up with the topmost edge in the selection. • Align Bottom Edges: Moves the selected objects so their bottom edges line up with the bottommost edge in the selection. • Align Far Edges: In 3D mode, aligns the farthest edges of each object along the Z (depth) axis. • Align Near Edges: In 3D mode, aligns the nearest edges of each object along the Z (depth) axis. • Align Horizontal Centers: Lines up the selected objects on their horizontal center points. • Align Vertical Centers: Lines up the selected objects on their vertical center points. • Align Depth Centers: Lines up the selected objects on their Z (depth) center points. • Distribute Lefts: Spreads the selected objects evenly between the leftmost and rightmost objects based on their left edges. • Distribute Rights: Spreads the selected objects evenly between the leftmost and rightmost objects based on their right edges. • Distribute Tops: Spreads the selected objects evenly between the topmost and bottommost objects based on their top edges. • Distribute Bottoms: Spreads the selected objects evenly between the topmost and bottommost objects based on their bottom edges. • Distribute Far: Spreads the selected objects evenly between each object’s farthest point. • Distribute Near: Spreads the selected layers evenly between each object’s nearest point. • Distribute Horizontal Centers: Spreads the selected objects evenly between the leftmost and rightmost objects based on their horizontal center points. • Distribute Vertical Centers: Spreads the selected objects evenly between the topmost and bottommost objects based on their vertical center points. • Distribute Depth Centers: Spreads the selected objects evenly between the nearest and farthest objects, based on their Z (depth) center points. • Group: Combines the selected objects into a group. (Command-Shift-G) • Ungroup: Removes the grouping so you can manipulate the objects individually. (Command-Option-G) • Active: Sets whether an object is active. When an object is not active, it doesn’t appear in the Canvas and doesn’t appear in the final output. When the selected item is active, the menu item has a checkmark beside it. (Control-T) Chapter 4 Motion Menus 153 • Solo: Soloing an object hides all other objects in the project. When the selected item is soloed, the menu item has a checkmark beside it. You cannot solo a camera, light, or rig. (Control-S) Note: You can also Control-click an object in the Layers list and choose Solo from the shortcut menu. • Isolate: Isolating an object displays the object in its original orientation. For example, if you want to apply a mask to or rotoscope a layer that has been transformed in 3D space, you can isolate the layer so it appears in its original orientation (2D, facing the front of the project). Isolating an object does not alter its actual position in the project, but temporarily changes the display so you can see it in the original orientation. (Control-I) Isolate is only available in projects that contain a camera. When an object can be isolated, a small Isolate button appears to the right of the object’s name in the Layers list. Click the button to isolate the object. When you isolate an object, the object name appears in the Camera menu in the Canvas as the name of your current view. Isolating a camera activates that camera’s view. You cannot isolate a light or rig. • Lock: Locking an object prevents any changes from affecting that object. When the selected item is locked, the menu item has a checkmark beside it. (Control-L) • Unsolo: This submenu lets you turn a soloed object back to its normal state. There are three choices: Video Only (Shift-Control-S), Audio Only, or Video and Audio. This menu item is only available when a soloed object is selected. • 3D Group: Changes the selected group to a 3D group. Deselecting the menu option changes the group back to a 2D group (Control-D). • Blend Mode: This submenu sets the blend mode for the selected layer. An object must be selected to see the blend mode options. A layer can only have one blend mode set at a time. The current setting is indicated with a checkmark beside the menu item. For descriptions and examples of the various blend modes, see Using Blend Modes. • Add Image Mask: Adds a mask to the selected layer. (Command-Shift-M) • Add Keyframe: Adds a keyframe to the selected object, based on the last parameter adjusted. The name change is based on your last action (positioning an object, adjusting the scale handles, and so on). (Control-K) • Convert to Keyframes: This command can only be chosen when the selected object or objects have behaviors applied. All behaviors are reproduced as keyframes on the parameters that they affect. (Command-K) • Convert to Mask: This command can only be chosen when the selected object is a shape in a 2D group or a flattened 3D group. The shape is converted to a mask and applied to the enclosing group. For more information on converting shapes to masks, see Converting Between Shapes and Masks. 154 Chapter 4 Motion Menus • Make Particles: Uses the selected layer as a cell source for a new particle emitter. (E) • Replicate: Replicates the selected layer. (L) • Make Clone Layer: Creates a clone of the selected layer or group. In a motion graphics project, sometimes it is necessary to reuse an object in other parts of the project multiple times. Although you can duplicate or cut and paste any object, if you update the original, none of the changes you make are applied to the copies. Making clone layers instead of duplicates lets you control all copies by modifying the original and also improves project playback and rendering performance. Each cloned item is copied and named “Clone Layer,” “Clone Layer 1,” and so on. When you clone a layer, the cloned layer is placed in its original group. When you clone a group, a new group is created that contains the clone. Cloned items are identified in the Layers list with an icon for a cloned layer and an icon for a cloned group. For more information, see Making Clone Layers. • Reveal Source Media: Opens the Media list and highlights the item that corresponds with the selected object. The Inspector is also updated to reveal the properties of the source media. (Shift-F) Favorites Menu The Favorites menu remains empty until you create your own favorite effects. After you have created favorites and stored them in the Favorites Menu folder in the Library, they appear in the Favorites menu, grouped by type. • Show Favorites Menu Items: Opens the Library and displays the Favorites Menu folder. View Menu The View menu contains commands for controlling the Motion interface. Most of these items affect the Canvas, but some also apply to the Timeline and other panes. • Zoom In: Zooms into the Canvas. (Command-Equal Sign) • Zoom Out: Zooms out of the Canvas. (Command-Hyphen) • Zoom Level: This submenu lets you set a specific zoom level, including a Fit in Window option. (Shift-Z) • Zoom Time View: This submenu allows you to zoom the contents of the Timeline. • To Project: Zooms your Timeline so the entire duration of the project fills the window. • To Play Range: Zooms your Timeline so the area between the project In and Out points fills the window. • Correct for Aspect Ratio: Adjusts the display of the Canvas to simulate the nonsquare pixels that appear on a TV monitor. Chapter 4 Motion Menus 155 • Show Full View Area: Turns on or off the display of layers that extend beyond the edges of the Canvas. Areas that extend beyond the edges of the Canvas appear semitransparent. (Shift-V) • Use Drop Zones: Turns drop zones on and off. • Save View Defaults: Saves the current state of all overlay settings (rulers, safe zones, animation paths, 3D overlays, and so on) as the default state for new projects. For more information on overlays, see Canvas View Options. • 3D View: This submenu sets the view to a scene camera or default camera view in a 3D project. A scene camera is a camera that you add to a project. A default camera view is a built-in camera view, such as Perspective, Right, or Top. This menu is identical to using the Camera menu in the upper-left corner of the Canvas. For more information on cameras and views, see 3D Compositing. Note: Because project objects are 2D (flat), they are not visible when you use the orthogonal camera views (Front, Back, Left, Right, Top, and Bottom) unless the objects are rotated in 3D space. This is because orthogonal views are at right angles (perpendicular) to the elements. When an object is selected, a thin white line represents the object in the Canvas. • Active Camera: Shows the view from the active camera. (Control-A) Cameras added to your project appear in this list as Camera, Camera 1, Camera 2, and so on. • Perspective: Shows the perspective camera view. The perspective view defaults to a view from the front center. Use the 3D View tools to pan, orbit, or dolly the camera. • Front: Shows the front camera view. Use the 3D View tools to pan, orbit, or dolly the camera. • Back: Shows the back camera view (the view from the back of the scene). Use the 3D View tools to pan, orbit, or dolly the camera. • Left: Shows the left camera view (the view from the left of the scene). Use the 3D View tools to pan, orbit, or dolly the camera. • Right: Shows the right camera view (the view from the right of the scene). Use the 3D View tools to pan, orbit, or dolly the camera. • Top: Shows the top camera view (the view from the top of the scene). Use the 3D View tools to pan, orbit, or dolly the camera. • Bottom: Shows the bottom camera view (the view from the bottom of the scene). Use the 3D View tools to pan, orbit, or dolly the camera. • Next Camera: When the Canvas is active, changes your view to the next scene camera based on camera order in the Layers list. (Control-C) • Select Active Camera: Selects the “active” camera in the project: The topmost camera in the project that is visible at the current frame (when there are multiple cameras existing at the same frame in time). (Option-Control-C) 156 Chapter 4 Motion Menus • Reset View: Resets the camera view to its default orientation. (Control-R) • Fit Objects into View: Reframes the current camera to fit the selected objects into the Canvas. (F) • Frame Object: Frames the selected objects in the active view. (Command-Shift-F) If no objects are selected, Frame Object resets the reference camera to view all objects in the scene. For more information on camera views, see 3D View Tools. • Focus on Object: Used when a camera has depth of field turned on. Adjusts the camera’s Focus Offset to the selected object. (Control-F) For more information, see Depth of Field. • Channels: This submenu sets the Canvas to display individual color or transparency channels. Current settings are indicated with a checkmark beside the item in the menu. This menu is identical to the Channels pop-up menu above the Canvas. • Color: Shows the image just as it would appear on a video monitor. Visible layers appear in natural color and transparent areas reveal the background color as set in the Project Properties. This is black by default. (Shift-C) • Transparent: Shows the background area of the Canvas as transparent. A checkerboard pattern appears by default where no images block the background. (Shift-T) • Alpha Overlay: Displays the image in normal color, but adds a red highlight over transparent areas of the image. (Option-Shift-T) • RGB Only: Displays the normal mix of red, green, and blue channels but transparent areas (including semitransparent areas) are treated as opaque. (Option-Shift-C) • Red: Sets the Canvas to display only the red channel as a range of black to white. (Shift-R) • Green: Sets the Canvas to display only the green channel as a range of black to white. (Shift-G) • Blue: Sets the Canvas to display only the blue channel as a range of black to white. (Shift-B) • Alpha: Sets the Canvas to display the alpha (transparency) channel of the layers in the Canvas. (Shift-A) • Inverted Alpha: Sets the Canvas to display an inverted view of the alpha (transparency) channel. (Shift-Option-A) • Toggle Current & Alpha: Switches back and forth between viewing the current state and just the alpha channel. (V) Chapter 4 Motion Menus 157 • Resolution: This submenu sets whether proxy scrubbing is enabled, and also sets the quality level of the Canvas. Reducing the resolution improves playback performance. The current setting is indicated with a checkmark beside the menu item. The menu items include the following: • Dynamic: Reduces the quality of the image displayed in the Canvas during playback or scrubbing in the Timeline or mini-Timeline, allowing for faster feedback. Also reduces the quality of an image as it is actively modified in the Canvas. After playback or scrubbing is stopped, or the modification is completed in the Canvas, the image quality is restored (based on the Quality and Resolution settings for the project). • Full (Shift-Q), Half, or Quarter: Each lower setting further degrades the image. • Quality: Sets the display mode for objects in the Canvas, such as text and images, to Draft, Normal, Best, or Custom. • Draft: Renders objects in the Canvas at a lower quality to allow optimal project interactivity. There is no antialiasing. • Normal: The default setting, renders objects in the Canvas at a medium quality. Shapes are antialiased, but 3D intersections are not. • Best: Renders objects in the Canvas at best quality, which includes higher-quality image resampling, antialiased intersections, and antialiased particle edges. This option slows down project interactivity. • Custom: Allows you to set additional controls to customize render quality. Choosing Custom opens the Advanced Quality Options dialog. For information on the settings in the Advanced Quality Options dialog, see Advanced Quality Settings. Tip: When working in your project, work in Draft or Normal for better interactivity. When you are ready to export your project, use Best or Custom. • Render Options: This submenu contains rendering controls that typically impact playback speed. Turn these items off to improve system performance. • Lighting: Turns off lighting to improve performance. When lighting is enabled, a checkmark appears beside the menu item. (Option-L) • Shadows: Turns off rendering of shadows to improve performance. When shadow rendering is enabled, a checkmark appears beside the menu item. (Option-Control-S) • Reflections: Turns off rendering of reflections to improve performance. When reflection rendering is enabled, a checkmark appears beside the menu item. (Option-Control-R) • Depth of Field: Turns off depth-of-field rendering to improve performance. When depth-of-field rendering is enabled, a checkmark appears beside the menu item. (Option-Control-D) • Motion Blur: Turns off motion blur rendering to improve performance. When motion blur rendering is enabled, a checkmark appears beside the menu item. (Option-M) 158 Chapter 4 Motion Menus • Field Rendering: Turns off field rendering to improve performance. When field rendering is enabled, a checkmark appears beside the menu item. (Option-F) • Frame Blending: Turns off frame blending to improve performance. When frame blending is enabled, a checkmark appears beside the menu item. (Option-Control-B) • Show Overlays: Turns the display of all overlays on and off in the Canvas. This setting must be on to view any other overlay items (rulers, grids, guides, and so on). When Show Overlays is active, a checkmark appears beside the menu item. (Command-Slash) • Show Rulers: Turns display of rulers in the Canvas on and off. When rulers are visible, a checkmark appears beside the menu item. (Command-Shift-R) • Overlays: This submenu turns the various indicators, guides, and grids in the Canvas on and off. • Grid: Turns the display of a grid on and off. You can customize the grid in the Canvas pane of Motion Preferences. When the grid is displayed, a checkmark appears beside the menu item. (Command-Apostrophe) • Guides: Turns the display of guides on and off. When guides are visible, a checkmark appears beside the menu item. (Command-Semicolon) • Dynamic Guides: Turns dynamic guides on and off. Dynamic guides are the lines that appear when you drag one item into alignment with another layer. When dynamic guides are enabled, a checkmark appears beside the menu item. Press N to turn snapping on or off. (Command-Shift-Semicolon) • Safe Zones: Turns the display of title-safe and action-safe guides on and off. You can customize the safe zones in the Canvas pane (Zones) of Motion Preferences. When safe zones are displayed, a checkmark appears beside the menu item. (Apostrophe) • Film Zones: Turns display of film-based aspect ratio guides on and off. You can customize the film zones in the Canvas pane (Zones) of Motion Preferences. When film zones are displayed, a checkmark appears beside the menu item. (Shift-Apostrophe) • Handles: Turns the display of object handles in the Canvas on and off. The handles are the corner points that let you manipulate an object. When handles are displayed, a checkmark appears beside the menu item. • Lines: Turns the display of object border lines on and off. When lines are displayed, a checkmark appears beside the menu item. • Animation Path: Turns display of keyframe animation paths on and off. Animation paths are the lines that show where an object moves in the Canvas. When animation paths are displayed, a checkmark appears beside the menu item. Chapter 4 Motion Menus 159 • Guides: This submenu lets you control the guides in the Canvas. • Lock Guides: Causes all guides to be fixed in their current position. This prevents you from accidentally moving a guide instead of moving an object. (Command-Option-Semicolon) • Unlock Guides: Releases guides to be manually manipulated. • Clear Guides: Removes all guides from the Canvas. • Add Vertical Guide: Adds a moveable, vertical guide to the center of the Canvas. • Add Horizontal Guide: Adds a moveable, horizontal guide to the center of the Canvas. • Snap: Turns object snapping on and off in the Canvas and Timeline. Snapping aligns objects as you drag them. When snap is enabled, a checkmark appears beside the menu item. (N) • Show 3D Overlays: Turns all 3D overlays on and off, including the 3D View tools, 3D Compass, Inset view, 3D grid, and 3D scene icons. • 3D Overlays: This submenu controls the display of 3D overlays in the Canvas. • 3D View Tools: Turns the Camera menu and 3D View tools on and off. • Compass: Turns the 3D Compass on and off. The compass shows your current orientation in 3D space. The red axis is X (horizontal), the green axis is Y (vertical), and the blue axis is Z (depth). Move the pointer over the compass and choose a new view by clicking a colored view icon, such as Front, Left, Right, Perspective, and so on. The Canvas animates the view change. • Inset View: When Inset view is turned on, a window appears in the lower-right corner of the Canvas and displays a perspective or active-camera view of your project as you move objects in 3D space, helping you stay oriented. In the 3D pane of Motion Preferences, you can change the size of the Inset view and specify when it appears: during transform changes, during all changes, or when manually invoked. • 3D Grid: Turns the 3D grid on and off. The 3D grid helps you stay oriented while working in 3D space and can be used to guide the placement of objects in your project. The 3D grid appears only when you are in 3D mode. (Command-Shift-Apostrophe) • 3D Scene Icons: Turns all 3D scene icons, such as lights and cameras on and off. The scene icons appear in the Canvas as wireframe icons, and each includes red, green, and blue handles that let you transform and rotate the camera or light. • Layers Columns: Opens a submenu of commands to turn the following controls on or off in the Layers list of the Project pane: • Preview: Shows a thumbnail of the object. The group thumbnail represents the cumulative result of the composite up to that point in the project. • Opacity: Displays the current opacity (transparency) of the group or layer. You can adjust the slider to change the item’s opacity. 160 Chapter 4 Motion Menus • Blend Mode: Displays the current blend mode of the layer or group. Choose a new blend mode from the pop-up menu. For more information on blend modes, see Using Blend Modes. • Media Columns: Opens a submenu of commands to turn on or off the display of technical information in the Media list of the Project pane: • Preview: Shows a thumbnail of the media file. The thumbnail for an audio file (with no associated image) appears as a speaker icon. • Kind: Identifies the type of media, including QuickTime movie, still image, QuickTime audio, or PDF. For a list of supported codecs and file types, see Supported File Formats. • In Use: When checked, this field indicates that the media is being used in your project. When unchecked, the media is not used. If “Automatically manage unused media” is selected in the General pane of Motion Preferences, Motion removes unused media from the Media list. Disable this setting if you prefer to manage the contents of the Media list manually. • Duration: Displays the duration of the media in frames or timecode. • Frame Size: Displays the native size of the image in pixels. The numbers represent width and height. This column remains blank for audio-only files. • Format: Displays the format of the clip. This is also sometimes referred to as a codec. • Depth: Displays the number of colors (bit depth) of the file. Any item listed as Millions of Colors+ indicates that the media contains an alpha channel in addition to the RGB data. • Video Rate: Displays the frame rate of the media. • Audio Rate: Displays the sample rate in the audio track, measured in kilohertz (kHz). • Audio Bit Depth: Displays the bit depth of the audio file. • File Size: Displays the overall file size of the media on disk. • File Created: Displays the creation date of the media. • File Modified: Displays the last date on which the media was modified. • Show/Hide Fonts: Displays (or hides) the Mac OS X Fonts window for selecting fonts and font attributes. (Command-T) • Show/Hide Colors: Displays (or hides) the Colors window for selecting colors. (Command-Shift-C) Chapter 4 Motion Menus 161 Share Use the Share menu to export your project. You can export high-quality movies and image sequences, send projects to the Media Browser for use in other Apple applications, or publish to popular sharing websites such as YouTube and Facebook. You can also create your own custom export settings. For more information, see Sharing Motion Projects. • Apple Devices: Publishes your project to iTunes, allowing you to watch it on Apple TV or in Front Row, or to download it to iPhone, iPad, or iPod. For more information, see Sharing to Apple Devices. • DVD: Allows you to burn your project to a DVD. For more information, see Sharing to Disc or Creating a Disk Image. • Blu-ray: Allows you to burn your project to a Blu-ray disc. For more information, see Sharing to Disc or Creating a Disk Image. • Email: Opens your mail application and attaches your project. For more information, see Sharing to Email. • YouTube: Publishes your project to YouTube. For more information, see Sharing to Video Sharing Sites. • Facebook: Publishes your project to Facebook. For more information, see Sharing to Video Sharing Sites. • Vimeo: Publishes your project to Vimeo. For more information, see Sharing to Video Sharing Sites. • CNN iReport: Publishes your project to CNN iReport. For more information, see Sharing to Video Sharing Sites. • Export Movie: Exports your project as a QuickTime movie to a Finder folder. For more information, see Exporting QuickTime, Audio, and Image Sequence Media. • Export Selection to Movie: Exports the current selection as a QuickTime movie to a Finder folder. For more information, see Exporting QuickTime, Audio, and Image Sequence Media. • Export Audio: Exports only the audio portion your project as an audio file to a Finder folder. For more information, see Exporting QuickTime, Audio, and Image Sequence Media. • Save Current Frame: Saves a single image file of any video frame in your project. For more information, see Exporting Frames. • Export Image Sequence: Exports your project as an image sequence to a Finder folder. For more information, see Exporting QuickTime, Audio, and Image Sequence Media. • Export for HTTP Live Streaming: Exports a QuickTime reference movie for web hosting. For more information, see Exporting for HTTP Live Streaming. 162 Chapter 4 Motion Menus • Send to Compressor: Renders your project through Compressor, allowing you to further customize your export settings. For more information, see Exporting Using Compressor. • Export using Compressor Settings: Renders your project using predefined groups of export settings in Compressor. For more information, see Exporting Using Compressor. • Show Share Monitor: Launches Share Monitor. For more information, see About Share Monitor. Window Menu This menu contains controls to show and hide the panes in the Motion interface. • Minimize: Shrinks the active window to the Dock. This is equivalent to clicking the Minimize button at the upper left of the window. (Command-M) • Minimize All: If you are using a viewer window to preview an image or clip (by double-clicking a file in the File Browser), this command shrinks the Motion project window and the viewer window to the Dock. • Zoom: Resizes the active window to maximize desktop real estate. Switches between full screen and the previously saved non-full screen state. • Show Inspector: This submenu provides direct access to the four panes in the Inspector: Properties (F1), Behaviors (F2), Filters (F3), and Object (F4). The Object pane changes depending on what type of object is selected. • Show/Hide Project Pane: Turns the display of the Project pane on or off. (F5) • Show/Hide Timing Pane: Turns the display of the Timing pane on or off. (F6) • Show/Hide HUD: Turns the display of the HUD on or off. (F7) • Show/Hide Task List: The Background Task List window displays any background processing when Motion performs optical flow retiming. For more information on optical flow, see the Optical Flow pop-menu item in Timing Controls in the Properties Inspector. • Player Mode: Fills your entire monitor with the Canvas, transport controls, and toolbar. In this mode, you can do all normal Canvas operations, including playback. To leave Player mode, choose the menu item again. (F8) Chapter 4 Motion Menus 163 • Show Canvas on Second Display/Show Canvas in the Main Window: If you have two displays connected to your computer, shows the Canvas and Project pane (Layers, Media, and Audio lists) on the second display. Choose Show Canvas in the Main Window to show the Canvas in the main project window. • Show Timing Pane on Second Display/Show Timing Pane in the Main Window: If you have two displays connected to your computer, shows the Timing pane (Timeline, Audio Timeline, and Keyframe Editor) on the second display. Choose Show Timing Pane in the Main Window to show the pane in the main project window. • Revert to Original Layout: If the Timing pane or Canvas are displayed on a second monitor, shows the Timing pane or Canvas in the main project window. • File Browser: Displays the File Browser. (Command-1) • Library: Displays the Library. (Command-2) • Inspector: Displays the Inspector. (Command-3) • Layers: Displays the Layers list in the Project pane. (Command-4) • Media: Displays the Media list in the Project pane. (Command-5) • Audio: Displays the Audio list in the Project pane. (Command-6) • Video Timeline: Turns the display of the Timeline on or off. If the Timing pane is not visible, this command causes it to appear. (Command-7) • Keyframe Editor: Turns the display of the Keyframe Editor on or off. If the Timing pane is not visible, this command causes it to appear. (Command-8) • Audio Timeline: Turns the display of the Audio Timeline on or off. If the Timing pane is not visible, this command causes it to appear. (Command-9) • Bring All to Front: If the main Motion window is behind windows of other applications and a viewer window is selected, this command moves the Motion window to the front. If any viewer windows are hidden behind windows from other applications, this command moves the viewer windows in front of the other applications. • Open Project/Untitled List: The open project and any images that are open in a viewer window appear at the bottom of the Window menu. An unsaved project is listed as “Untitled.” Choosing an item from this list brings it to the front. Help Menu The Help menu provides access to resources for learning more about Motion. • Motion 5 Help: Opens the Motion 5 User Manual. • Service and Support: Opens a webpage that contains up-to-date technical support information about Motion. 164 Chapter 4 Motion Menus Motion Preferences allow you to customize your workspace, tailor the interface for different types of projects, and define the presets for new projects and exported finished movies. The Motion Preferences window contains nine panes that group global settings according to function: General, Appearance, Project, Time, Cache, Canvas, 3D, Presets, and Gestures. To open the Motion Preferences window, choose Motion > Preferences (or press Command-Comma). This chapter covers the following: • General Pane (p. 166) • Appearance Pane (p. 168) • Project Pane (p. 170) • Time Pane (p. 172) • Cache Pane (p. 173) • Canvas Pane (p. 175) • 3D Pane (p. 177) • Presets Pane (p. 179) • Gestures Pane (p. 181) 165 Preferences 5 General Pane The General Preferences pane contains global settings grouped into the following categories: Startup, Interface, File Browser & Library, and Media. Startup This section of the General Preferences pane allows you to define what Motion does when first opened. At Startup pop-up menu: This pop-up menu allows you to choose one of two default behaviors when Motion is launched: • Create New Project: Opens a new empty project. If a default preset has not been chosen, the Project Browser appears at startup. • Open Last Project: Opens the saved project from the previous session. Interface This section of the General Preferences pane allows you to set some general options for the interface. Drop Menu Delay: Determines how long you must wait before the drop menu appears when dragging to the Timeline, Layers list, or Canvas. The drop menu provides additional choices for editing and importing objects into the project. Show Tooltips: This checkbox turns tooltips on and off across the application. Tooltips provide explanatory information such as names and basic usage techniques. They appear when you pause the pointer over tools and controls. 166 Chapter 5 Preferences File Browser & Library These settings in the General Preferences pane affect how the File Browser and Library display their contents. Display Folders: A pop-up menu that lets you select how folders appear in the File Browser and Library. Menu items include the following: • Alphabetically in List: Lists folders alphabetically. • Last in List: Groups the folders together at the end of the list after all nonfolder items. Show preview icons: This checkbox turns preview icons on and off in the File Browser and Library. For example, when looking at replicators in the Library with the “Show preview icons” checkbox selected, thumbnails of the replicators are shown. When the checkbox is deselected, the generic icon for each item type is displayed. Play items automatically on a single click: This checkbox controls whether the preview area plays the contents of the item selected in the file stack. Media This section in the General Preferences pane contains the “Automatically manage unused media” checkbox. When the checkbox is selected, Motion removes unused media from the Media list when you delete that media from the Canvas, Layers list, or Timeline. If you want to retain (in the Media list) a copy of media that is no longer used in your project, deselect this checkbox. Chapter 5 Preferences 167 Appearance Pane The Appearance pane of the Motion Preferences window contains settings that control visual elements of the Motion interface, grouped into the following categories: Timeline, Canvas, Thumbnail Preview, and Status Bar. Timeline This section of the Appearance pane in Motion Preferences lets you choose how to display the bars that appear in the Timeline to represent your objects. Timebar Display: A pop-up menu with three options for Timeline display: • Name: The bars in the Timeline display the object name only. • Name Plus Thumbnail: This setting is the default. Bars in the Timeline display an icon representing the first frame of the object followed by the name of the object. • Filmstrip: Bars in the Timeline are displayed as a continuous strip of frames. The name text does not appear. Only layers (shapes, images, image sequences, text, and so on) display a thumbnail or a continuous strip of frames. Objects such as cameras, lights, and behaviors do not display a thumbnail. Canvas This section of the Appearance pane in Motion Preferences contains a setting that controls the opacity of objects that extend beyond the Canvas edges. 168 Chapter 5 Preferences Full View Opacity: If Show Full View Area is enabled in the View menu, this slider controls the opacity of the part of a layer that extends beyond the edge of the Canvas into the background. When set to 100%, the layer is transparent. When set to 0%, the layer is fully opaque. Thumbnail Preview The thumbnails that appear in the Layers list of Motion can provide helpful information about the items selected in that window. For items that are partially transparent (contain an alpha channel), you can set the background that appears behind the image. Background: A pop-up menu with two options for thumbnail backgrounds: • Checkerboard: Displays a checkerboard pattern where transparent pixels appear. • Color: Displays a solid color where transparent pixels appear. Background color well: When Color is chosen from the Background pop-up menu, this color well allows you to select a new background color from the Mac OS X Colors window or the Motion pop-up color palette. Status Bar The status bar is the area in the Motion workspace above the Canvas and below the project title bar. Use these settings to customize the information displayed in the status bar. Dynamic Tool Info: Select this checkbox to display transform information while actively adjusting an object using the onscreen controls. When rotating an object in the Canvas, for example, the original rotation value and the current degree of change are displayed in the status bar. Color: Turn on this checkbox to display the color value of the pixel under the pointer. Colors are displayed in the format chosen in the Display Color As pop-up menu. Coordinates: Turn on this checkbox to display the X and Y coordinates of the current pointer position. Frame rate (only during playback): When this checkbox is selected, Motion displays the frame rate of the project during playback. Nothing is displayed unless the project is playing. Display Color As: When the Color checkbox is selected, use this pop-up menu to choose from among three styles for displaying the color data. • RGB: This setting displays the red, green, blue, and alpha values of each pixel in ranges of 0–1, although super-white values can exceed the 0–1 value range. • RGB (Percent): This setting displays the red, green, blue, and alpha values of each pixel in ranges (percentages) of 1–100. Chapter 5 Preferences 169 • HSV: This setting displays the color as hue, saturation, and value (brightness), where hue is a percentage from 1–360, and saturation and value are ranged from 1–100 degrees. Alpha is also displayed ranged from 1–100 degrees. Project Pane The Project pane of Motion Preferences contains settings for project and layer duration and other project options. There are two categories of controls: Default Project Settings and Still Images & Layers. Default Project Settings These controls in the Project pane of Motion Preferences determine default values for new projects. Note: These settings only take effect in projects created after the preferences are set and Motion is quit and reopened. To change the settings of an open project, use the Properties Inspector instead (press Command-J, or click the Project object in the Layers list, then click Properties in the Inspector). Project Duration: Sets the default duration for new projects. You can enter a number into the value field and choose Frames or Seconds from the pop-up menu. Background Color: A color well that sets the color of the background for any new projects that are created. Does not change the background color of the current project. Note: To render a new background color into your final output, you must choose Solid from the Background Color pop-up menu in the Properties Inspector (press Command-J). 170 Chapter 5 Preferences For New Documents: These controls determine what occurs when you create a project. • Show Project Browser: When this option is selected, the Project Browser appears when you want to create a project. • Use Project: When this option is selected, the Choose button becomes available. Click Choose to specify a specific project to be opened when a new project is created. (If the project you want does not appear in the browser, click Open Other to locate the project using the Finder.) For more information on bypassing the Project Browser, see Bypassing the Project Browser. Still Images & Layers These settings in the Project pane of Motion Preferences control the default duration, placement, and size of still images and imported layers, as well as layers created in Motion, such as text, shapes, and masks. Default Layer Duration: You can specify the duration of still images, generators, and other layers that lack an inherent duration in one of two ways: • Use project duration: All layers are the same duration as the project. • Use custom duration: Layers are the duration defined in this value field. Duration: If Default Layer Duration is set to “Use custom duration,” enter a value in this field, and use the pop-up menu to set the time to Frames or Seconds. Create Layers At: When you drag media items to the Canvas, Layers list, or Timeline, they can be added to the project at the current playhead position or at the first frame. This setting also applies to layers created within Motion, such as text or shapes. • Current frame: Creates layers at the current playhead position. • Start of project: Creates layers at the first frame of the project. Large Stills: When importing large still images, set this pop-up menu to instruct Motion to import the file at its original size or to scale the image down to fit the Canvas size. Note: For more information on the differences between the Large Stills options, see Using High-Resolution Still Images. The Large Stills pop-up menu has two options: • Do Nothing: Imports the image at its original size. • Scale to Canvas Size: Imports and scales the image to fit the project size while maintaining its aspect ratio. Chapter 5 Preferences 171 Time Pane The Time pane of Motion Preferences contains settings for how time is displayed in the project, as well as for playback and keyframing options. There are three categories of controls: Time Display, Playback Control, and Keyframing. Time Display The controls in this section of the Time pane of Motion Preferences set how the time is counted in the Motion toolbar’s timing display. Display Time As: A pop-up menu with two items: • Frames: Incrementing frame numbers appear in the timing display. • Timecode: Eight-digit timecode numbers appear in the timing display. Frame Numbering: A pop-up menu that lets you choose whether frame counts begin at zero or one. Playback Control These settings in the Time pane of Motion Preferences control how Motion plays back your project. Time View Updating: A pop-up menu that sets how the Timeline updates when you play a project. Menu items include: • Don’t update: The Timeline does not advance as you play. This setting improves performance. • Jump by pages: As the playhead reaches the end of the current Timeline, the Timeline track area jumps forward. • Scroll continuously: The playhead remains static and the Timeline scrolls by behind it. If Audio Sync Is Lost: Motion attempts to keep audio and video playback locked in sync, but if the project is too complex to play both audio and video smoothly, one or the other must be compromised. Choose from one of two options: • Skip video frames: Audio continues to play, but video frames are skipped to keep up. • Pause audio playback: Audio playback is temporarily suspended during playback. Limit playback speed to project frame rate: Motion plays back your project as fast as possible based on the complexity of the effects and the processing power of your computer. When this checkbox is selected, playback rate never exceeds the frame rate of your project. This means you can watch your project play back at the same frame rate as your exported movie. When the checkbox is deselected, playback rate is limited only by your processor power and consequently might play much faster than the project frame rate. 172 Chapter 5 Preferences Loop audio while scrubbing: When this checkbox is selected, the audio for the frames where you drag the playhead repeats. When the checkbox is deselected, the audio for those frames plays only once. Keyframing This section in the Time pane of Motion Preferences contains controls to lock keyframes in time and to enable sub-frame keyframing. Lock keyframes in time in Keyframe Editor: When the checkbox is selected, you can change the values of keyframes in the Keyframe Editor, but you cannot move the keyframes forward or back in time. This helps prevent changing your animation timing as you adjust values. Allow sub-frame keyframing: Select this checkbox to maintain smoother animations when recording during playback or when scaling a group of keyframes in the Keyframe Editor using the Transform Keyframes tool. Cache Pane The Cache pane of Motion Preferences contains settings to manage the memory and disk usage for projects. There are three categories of controls: Memory & Cache, Autosave, and Optical Flow Retiming. Chapter 5 Preferences 173 Memory & Cache This setting in the Cache pane of the Motion Preferences window lets you specify how much memory is allocated to the project cache. Project Cache: Enter a number in the value field to specify the percentage of your total system memory to use for the project cache. The larger the number, the more memory available to Motion to cache frames, resulting in a higher likelihood of consistently smooth playback. Autosave These settings in the Cache pane of the Preferences window control how frequently projects are saved, as well as the location of the saved files. Saved projects are time-and-date stamped. Use Autosave Vault: When this checkbox is selected, Motion stores autosaved projects to the location specified by the Autosave Vault Folder path. By default, the Autosave Vault folder is located in a folder called Motion Projects in the Movies folder of your home directory. Save a copy every: Specifies how often, in minutes, a project is saved. Keep at most: Specifies how many versions of the autosaved project to store in the vault. Maximum of: Specifies the maximum number of autosaved projects to store in the vault. Autosave Vault Folder: The Choose button allows you to set where the Autosave files are kept. The Reset button sets the Autosave location back to its default. Customizing Autosave There are a number of ways to customize Autosave for your needs. To store autosaved projects in a specific location 1 Choose Motion > Preferences (or press Command-Comma). 2 Click Cache. 3 In the Autosave group, turn on Use Autosave Vault. By default, the Autosave Vault folder is located in a folder called Motion Projects in the Movies folder of your home directory. To set a new location for the Autosave Vault folder µ Click Choose, set a new location in the dialog, then click Choose. To revert to an autosaved project 1 Choose File > Restore from Autosave. The Restore Project dialog appears. 2 In the From pop-up menu, choose a time-stamped saved project. 174 Chapter 5 Preferences Note: A project must be saved before the Revert commands are available in the File menu. Optical Flow Retiming When you retime footage, Motion stores the retiming files on your computer. This setting in the Cache pane of Motion Preferences specifies the storage location. Save Retiming Files: You can choose to store the files in the same location as the source footage or specify your own location. • In folder with source media: Click this button to save the retiming files in the same location as the source footage. • In this folder: Click the Choose button to specify where the optical flow retiming files are stored. By default, the Optical Flow folder is located in the /Users/username/Documents/Motion Documents/Retiming Cache Files/ folder. Delete Retiming Cache: Click the Delete Retiming Cache button to delete any optical flow retiming files and reset any objects with optical flow to frame blending. An alert dialog appears to confirm that you want to remove all retiming files. Reveal in Finder: Click the Reveal in Finder button to show the location of the retimed file folder in the Finder. Canvas Pane The Canvas pane of Motion Preferences contains settings to customize your Canvas view. Changes made in this pane take immediate effect in your current project. There are two categories: Alignment and Zones. Chapter 5 Preferences 175 Alignment These settings in the Canvas pane of Motion Preferences control the color and display of the optional grid, rulers, and guides that appear in the Canvas. Grids, guides, and rulers can be turned on and off in the View menu or in the View pop-up menu in the upper-right corner of the Canvas. Grid Spacing: This slider sets the width for the grid in pixels. Grid Color: This color well sets the color of the grid lines. Guide Color: This color well sets the color of guides. Dynamic Guide Color: This color well sets the color for dynamic guides. Snap Objects At Their: The pop-up menu defines how objects are aligned with other objects when moved in the Canvas. There are three options: • Center: Aligns objects at their centers. • Edges: Aligns object at their edges. • Center and Edges: Aligns objects at their centers and edges. Ruler Location: This pop-up menu sets the position of the ruler in the Canvas. There are four options: • Bottom Left • Top Left • Top Right • Bottom Right Zones These settings in the Canvas pane of Motion Preferences control safe zone sizes and colors. Safe zones are special guides to help you avoid placing images in areas of the screen that might not appear correctly on consumer television sets. Images that appear outside the action-safe region might be cut off. The area outside the title-safe region might have distortions that make text hard to read. 176 Chapter 5 Preferences When producing output to be used for both television and film, it is helpful to see the area of the TV frame that will be cut off when the clip is converted to film. The film zone settings allow you to display a guide that identifies the aspect ratio of the film gauge you are working in. The safe zone and film zone guides can be turned on and off in the View menu, or in the View pop-up menu in the upper-right corner of the Canvas. Action Safe Region: A slider that sets the percentage of the Canvas where the action-safe guides appear. (Default is 90% of Canvas.) Title Safe Region: A slider that sets the percentage of the Canvas where the title-safe guides appear. (Default is 80% of Canvas.) Safe Zone Color: Sets the color of the safe zone guides. Film Zone: This pop-up menu sets the guide size to match a standard aspect ratio. Entering a number into the value field to the right of the pop-up menu sets a custom aspect ratio. There are five menu choices: • Academy Flat 1.85:1 • Anamorphic Scope 2.35:1 • High Definition 16:9 • Academy Standard 4:3 • Custom Film Zone Color: Sets the color of the film zone guides. 3D Pane The 3D pane of Motion Preferences lets you control various aspects of working in the Motion 3D workspace. There are two categories of controls: General 3D and 3D Grid. Chapter 5 Preferences 177 General 3D This area of the 3D pane in Motion Preferences lets you control the Inset view and choose whether new groups default to 2D or 3D mode. Display Inset View: A pop-up menu that lets you control when the Inset view (a temporary window that displays a camera view) appears in the Canvas. Inset View must be enabled in the View menu or View pop-up menu (in the upper-right corner of the Canvas) for the Inset view to appear. • On Transform Change: The Inset view appears when adjusting an object’s transform parameters, such as position, rotation, or scale. • On All Changes: The Inset view appears when making adjustments specific to an object, such as adjusting the parameters of a replicator, in the HUD or Inspector. • Manually: When this option is selected, the Inset view is displayed all the time. Inset view Inset View Size: Use the slider to adjust the size of the Inset view. Default New Group Type: Use this pop-up menu to specify whether new groups are created as 2D or 3D groups. When set to Automatic, Motion determines the type of group that is created based on the project. For example, when Automatic is selected and you are working in a 3D project, new groups are 3D. If you are working in a 2D project (no camera), new groups are 2D. 3D Grid This area of the 3D pane of Motion Preferences lets you modify settings for the grid that appears in the Motion 3D workspace. 178 Chapter 5 Preferences 3D Grid Spacing: Specifies the spacing between grid lines, in pixels. Primary Grid Color: Lets you set the color of the main grid lines. The main grid lines appear slightly heavier than the secondary grid lines. Secondary Grid Color: Lets you set the color of the secondary grid lines (the lines that appear within the main grid lines). Presets Pane The Presets pane of Motion Preferences contains presets for project settings. In this pane, you can choose defaults, as well as create, modify, and delete settings. The default project preset determines the settings assigned when you create a project. You can change any of these settings while you are working by selecting the Project object in the Layers list, then clicking Properties in the Inspector. After a default project is set in this pane, all new projects opened from the Project Browser are created with this setting (unless you choose another option from the Preset pop-up menu in the Project Browser). Project Preset list: Displays the current list of presets. The checkbox to the left of each name identifies the default preset. The column on the right shows which presets are locked. Locked presets cannot be modified. You can duplicate a locked preset and edit the copy. Default checkbox: When this checkbox is selected, the default project setting is used for new projects. Check a different box to select a new preset. Summary box (not labeled): To the right of the Project Preset list, the Summary box displays details of the selected preset. Add button (+): Click the Add button (+) to display the Project Preset Editor dialog and create a preset. Chapter 5 Preferences 179 Delete button (–): To remove a preset, select the preset to remove and click the Delete button (–). Duplicate: To duplicate a preset, select the preset to duplicate, then click Duplicate. Edit: To edit a preset, click the Edit button. The Project Preset Editor appears. Project Preset Editor The Project Preset Editor is where you make changes to a project preset. Note: Locked presets cannot be edited. If you attempt to edit a locked preset, an alert dialog appears, a duplicate copy of the preset is made, and your edits are applied to the duplicate. To open the Project Preset Editor µ In the Presets pane of Motion Preferences, do one of the following: • Double-click a preset in the Preset list. • Select a preset in the Preset list and click the Edit button. Note: If the preset cannot be modified, an alert dialog appears. Click OK to create an editable copy of the preset. • Select an item in the Preset list, click Duplicate, select the copied preset, then click the Edit button. The Project Preset editor contains the following settings: Name: This editable field contains the name for the preset. Description: This field contains descriptive text to identify the preset. You can enter your own descriptive text in this field. The new text will appear in the Summary box in the Preset pane of Motion Preferences. 180 Chapter 5 Preferences Note: In the lower-right corner of the Project Browser, only the resolution, field order, and aspect ratio appear—the descriptive text (or preset name) does not appear. Width and Height: These fields set the frame size for the preset. Pixel Aspect Ratio: Sets the pixel aspect ratio for the preset. This should match the type of media with which you are working. Field Order: Sets the field order for your project. DV projects typically use the Lower First setting. Frame Rate: Sets the frame rate for your preset. Gestures Pane The Gestures pane of Motion Preferences contains settings pertaining to using a Wacom Intuos graphics tablet to control Motion. You cannot turn on gestures in Motion unless you have a tablet attached to your computer and Handwriting Recognition is turned on in the Ink preferences in System Preferences. For convenience, you can open Ink Preferences from the Gestures Preferences pane by clicking the Open Ink Preferences button. For more information on using gestures, see Using Gestures. Note: Swipes, pinches and other multi-touch gestures performed on a Multi-Touch device are unaffected by any settings in the Gestures pane of Motion Preferences. Gestures are: Turns gestures on or off. Open Ink Preferences: Opens the Ink pane of Mac OS X System Preferences. Trigger: Sets which trigger method to be used: Pen Button 1, Pen Button 2, or the Control key on your keyboard. Chapter 5 Preferences 181 Allow gestures in the air: Lets you trigger gestures without pressing the tip of the pen on the tablet. This option is available only when a pen button is set as the trigger to activate gestures. 182 Chapter 5 Preferences A Motion project contains a single composition made up of multiple image layers and applied effects. When you import still images and video clips into a project, Motion creates a linked reference to the source media files on disk but doesn’t move, duplicate, or modify the original files. Motion project files store information about how a composition is assembled, what media files on disk are used, and what effects from the Library have been applied. In addition to imported media, project files also contain shapes, masks, and text layers you create in the application. This chapter covers the following: • Creating Projects (p. 183) • Managing Projects (p. 193) • Adding Media to a Project (p. 204) • Managing Layers in a Project (p. 207) • Deleting Objects from a Project (p. 211) • Exchanging Media in a Project (p. 212) • Source Media Parameters (p. 213) • File Types Supported by Motion (p. 217) • Using Media in the Library (p. 225) • Organizing Groups and Layers in Motion (p. 231) • Customizing and Creating Templates (p. 245) Creating Projects Creating a project is the first step in the Motion workflow. There are three ways to start a project: • Open one of the supplied templates. • Open a blank project using a project preset. • Open a blank project using your own settings (for example, if you need an unusual frame size or frame rate not included in the project presets). 183 Creating and Managing Projects 6 Note: Previous versions of Motion allowed multiple open projects, each appearing in its own window. Motion 5 allows only one open project at a time. If you have one project open and attempt to create or open another, Motion prompts you to save, then closes the current project before opening the next project. Motion isresolution-independent, which means it supports projects using a range of frame sizes and frame rates. You can create small movies for streaming on the web, standard-definition and high-definition movies for broadcast, and even film-resolution files for large-screen display. Regardless of the resolution you choose, the Motion workflow is the same (although high-resolution projects using large media files can have higher memory and graphics card requirements than projects with smaller resolutions). Motion is hardware-dependent. This means that the type of graphics card installed on your computer affects performance and determines the maximum file size you can import into Motion. For most recommended cards, the image size limit is 4K or 8K. However, other factors affect performance, including the amount of VRAM on your computer and the number of monitors connected to your graphics card. For the best results, resize very large images to the largest size required in the project, but no larger. For more information, visit the Motion website at http://www.apple.com/finalcutpro/motion. Note: Because of hardware limitations and differences, the appearance of projects shared between computers with different installed graphics cards may vary. Each project in Motion has a single group of project properties that define the duration of the project, the size of the Canvas, the frame rate of playback, and other details that affect how the composition is formatted. Later, when you finish the project and are ready to export it, these project properties define the media file that is created. Although you can change these settings later, it’s best to choose the settings that match your final planned output format before you begin the project. Regardless of the project settings, Motion lets you import nearly any kind of media file supported by QuickTime. Further, you can mix media files with different properties in the same project. For example, you can combine video clips of different frame sizes with graphics files. In the end, the file you output uses the frame size and frame rate specified by the project properties. 184 Chapter 6 Creating and Managing Projects The Project Browser The easiest way to open a new or saved project is to use the Project Browser window. When you open Motion, the Project Browser appears, giving you access to Motion projects, new and old. The Project Browser contains three columns: a sidebar with a list of project categories, a project stack in the center displaying thumbnails of available projects based on the sidebar selection, and an information column on the right listing file format details. To filter available projects by type, select an item from the list in the sidebar. The categories include: • All: Displays all available projects in the project stack: blank projects, recently opened projects, Motion templates, and Final Cut Pro X templates. • Blank: Displays the five blank project types: Motion Project, Final Cut Effect, Final Cut Generator, Final Cut Transition, and Final Cut Title. When starting a project, choose one of these items. For more information, see Creating a Blank Motion Project and Creating Templates for Final Cut Pro X. • Recent: Displays a list of recently opened Motion projects. • Compostions: Displays a list of preset templates in several categories, including Atmospheric, Pulse, Snap, Splash, and Swarm. • Final Cut Effects: Displays a list of saved effect templates for use in Final Cut Pro X. • Final Cut Generators: Displays a list of saved generator templates for use in Final Cut Pro X. • Final Cut Transitions: Displays a list of saved transition templates for use in Final Cut Pro X. Chapter 6 Creating and Managing Projects 185 • Final Cut Titles: Displays a list of saved title templates for use in Final Cut Pro X. The project stack at the center of the File Browser displays thumbnails of available projects (blank and saved) in the category selected in the sidebar. You can further filter the contents of the stack by entering a word in the search field or using the Theme pop-up menu at the bottom of the stack. Choosing a theme limits the display to projects assigned to that theme. You can control the size of the thumbnails in the project stack by dragging the scale slider at the bottom of the window, which lets you view more items without scrolling. When you select an item in the stack, the right column of the Project Browser displays file settings and a video preview, if one is available. Before opening a new project, you can modify its preset resolution, frame rate, and duration using the pop-up menus above the preview area. Opening a Project There are several ways to locate and open a Motion project from the Project Browser. To open a project from the Project Browser 1 Select a category of content in the sidebar to limit which items are displayed in the project stack. 2 Select an item from the project stack. A video preview, if available, plays in the preview area on the right. 186 Chapter 6 Creating and Managing Projects 3 Modify the resolution, frame rate, and default duration if needed using the pop-up menus above the preview area. 4 Click Open. The Project Browser closes and the project you selected opens in the Motion workspace. If you selected an existing project, that project opens to its last saved state. if you select a blank project type, preset project type, or Final Cut Pro X template, a new, unsaved project is opened. Saving that project does not overwrite the preset project or template. Using the buttons at the bottom of the Project Browser, you can also open a specific project that doesn’t appear in the Project Browser, but is accessible through the Finder. Alternatively, you can open a specific media file or group of files—movies, still images, and so on—and create a Motion project containing those files. To open an existing Motion project file that does not appear in the Project Browser 1 In the Project Browser, click Open Other or press Command-O. The Open dialog appears. 2 In the Open dialog, navigate to the Motion project file to open, select it, then click Open. To create a project prepopulated with specific media files 1 In the Project Browser, click Create Project From File. The Import Files as Project dialog appears. 2 Navigate to and select the one or more media files, Shift-clicking to select contiguous items or Command-clicking to select noncontiguous items. As you select files, format settings at the bottom of the dialog become available. Settings inherent to the selected files remain dimmed, but propagate to the new project. For example, because movie files have an inherent frame rate, aspect ratio, and field order, those settings are dimmed in the Import Files as Project dialog. Because still images do not have a frame rate or a field order, those settings are enabled in the dialog, allowing you to choose a frame rate and field order for the new Motion project. 3 If needed, set the Frame Rate, Aspect Ratio, Field Order, and Audio mix settings. If you selected an item from an image sequence, select the Image Sequence checkbox to have Motion use each image as a frame in a movie clip. For more information, see Image Sequences. Except for Frame Rate, these settings can be modified after the project is created, in the Properties Inspector. For more information, see Project Properties. 4 Click Import as Project. The file opens in a new Motion project window. Chapter 6 Creating and Managing Projects 187 Creating Projects from Templates An easy way to create a project in Motion is to open and modify an existing template. Motion templates—shown in the Compositions category in the sidebar—are premade, royalty-free projects that you can customize. Each template contains graphics, text objects, and backgrounds. You can also create templates for frequently used layouts, customizing them with updated text and graphics. To create a project from a template 1 Choose File > New (or press Command-N). 2 When the Project Browser appears, select a template category from the Compostions section in the sidebar. The templates for that category appear in the project stack. 3 Click a template to see an animated preview in the preview area, along with additional information, including resolution, duration, and frame rate. 4 To create a project from the selected template, click Open a Copy. A new project opens in the Motion workspace. You can customize the project by editing the text or exchanging the graphic elements with your own. The changes you make to projects created using templates are not saved to the source template file. For more information about using, modifying, and creating templates, see Customizing and Creating Templates. Creating Final Cut Pro X Templates A special set of templates in the Project Browser lets you create special effects, animated titles, editing transitions, and graphics generators for use in Final Cut Pro X. Available in the Blank category of the Project Browser sidebar, the Final Cut templates contain placeholders designed to simplify customization. When Motion 5 and Final Cut Pro X are installed on the same computer, saving a Final Cut template in Motion sends the custom effect to the Final Cut Pro X effects browsers, where it can be applied to clips in the editing Timeline. For more information on using Final Cut templates, see Creating Templates for Final Cut Pro X. Creating a Blank Motion Project To create a project from scratch, select the Motion Project object in the Blank category of the Project Browser, choose a video resolution, and click Open. A new, empty project opens in the workspace, ready for you to add objects. To create a project 1 Choose File > New (or press Command-N). 188 Chapter 6 Creating and Managing Projects If an unsaved project is open, Motion prompts you to save that project, or close it without saving. The Project Browser appears. 2 Select the Blank category in the sidebar, then click the Motion Project icon in the stack. 3 Choose a resolution from the Preset pop-up menu and a frame rate from the Frame Rate pop-up menu in the right column, then click Open. A new, untitled Motion project opens. The project is not saved to disk until you choose a save command from the File menu. For more information on saving project files, see Saving Projects. Creating Blank Projects with Custom Settings If none of the options in the Presets pop-up menu of the Project Browser meet your needs, you can create a project with custom settings from the same window. To create a project with custom project settings 1 Choose File > New (or press Command-N). The Project Browser appears. 2 Select the Blank category in the sidebar, then click the Motion Project icon in the stack. 3 Choose Custom from the Preset pop-up menu above the preview area. Additional settings controls appear. Chapter 6 Creating and Managing Projects 189 4 Choose the resolution (width and height), field order, aspect ratio, frame rate, and default duration for your custom project. 5 Click Open. A new Motion project opens using the settings you specified. Bypassing the Project Browser If you consistently create projects with a specific preset, template, or other starting project, you can bypass the Project Browser. This way, when you create a project, it is opened in the Motion workspace with the settings you established. These settings are controlled in the Project pane of Motion Preferences. To bypass the Project Browser 1 Choose Motion > Preferences (or press Command-Comma). The Motion Preferences window appears. 2 Click the Project icon to open the Project pane. 3 In the For New Documents setting, click Use Project. Note: If you haven’t assigned a preset project, the setting reads: Use Project: Nothing Selected. When you choose a project, the text updates to reflect the name of the selected project. 4 Click Choose. A window opens containing the contents of the Project Browser. 5 In the Project Browser window, select a category in the sidebar and a project type from the center stack, then choose a preset from the right column. 6 Click Open. The selected project is assigned to the Use Project option in the Project pane of the Preferences window. From now on, the Project Browser does not appear when you choose File > New (or press Command-N). Instead, a new project opens in the format set in Motion Preferences. 190 Chapter 6 Creating and Managing Projects Creating, Editing, and Deleting Presets If you commonly create projects using custom settings that don’t match any available preset, you can create a preset with these settings for future use. Presets are created, modified, and deleted in the Presets pane of Motion Preferences. Note: The Default checkbox in the Presets pane of Motion preferences has no effect. To set a default project preset, see Bypassing the Project Browser. To create a custom preset 1 Choose Motion > Preferences (or press Command-Comma). 2 Open the Presets pane. 3 Click the Add button (+) beneath the presets list. The Project Preset Editor appears. Chapter 6 Creating and Managing Projects 191 4 In the Project Preset Editor, do the following: a In the Name field, enter a descriptive name for the preset. b In the Description field, enter a brief description of what that preset is for. Include significant characteristics of that preset, such as frame size and frame rate. c Enter a frame size into the Width and Height fields. d Choose a Pixel Aspect Ratio, Field Order, and Frame Rate from the corresponding pop-up menus. 5 Click OK. The new preset appears in the Presets pane and in the Presets pop-up menu in the Project Browser. 6 If you’re done creating project presets, close Motion Preferences. Note: For more information on industry-standard frame sizes, pixel aspect ratios, field order, and frame rates, see Supported File Formats. To duplicate a preset before editing it 1 In Motion Preferences, select a preset in the Presets pane. 2 Click Duplicate. The duplicated preset appears underneath the original preset with “copy” appended to its title. To edit a preset 1 In Motion Preferences, select a preset in the Presets pane. 2 Click Edit. 3 When the Project Preset Editor appears, make your changes, then click OK. Note: You cannot edit or delete locked project presets. To delete a custom preset 1 In Motion Preferences, select a preset in the Presets pane. 2 Click the Delete button (–) underneath the presets list. Note: You cannot edit or delete locked project presets. You cannot unlock a preset that is built into Motion. When the preset is double-clicked, an alert appears stating that the preset cannot be modified. To create a copy of the preset that you can customize, click OK. Moving Presets Between Computers Each preset you create is saved as a separate file. If you create custom presets that you rely on, you can move them to other computers that have Motion installed. All user-created presets are stored in the /Users/username/Library/Application Support/Motion/Presets/Project/ folder. 192 Chapter 6 Creating and Managing Projects To copy a project preset to another computer µ Copy your custom preset files to that computer’s /Users/username/Library/Application Support/Motion/Presets/Project/ folder. Managing Projects When you work on a project in Motion, it’s important to be organized. This includes keeping careful track of your project files, saving often, and maintaining regular backups. Motion also autosaves projects to files that can be retrieved at any time (unless Use Autosave Vault is deselected in Preferences). Saving Projects As with any application, it’s wise to save early and often as you work on your project. This way, you don’t lose work due to unforeseen circumstances such as a blackout occurring just as you were about to finish your latest animated masterpiece. In addition to preserving your work for future use, Motion’s save commands can be used in other ways to manage the development of your project. For example, if you’re happy with your current composition but want to create a variation, use the Save As command to save a copy of the current project. You can then alter the duplicate, leaving your original project alone in case you don’t like your changes. To save a project 1 Choose File > Save (or press Command-S). If the project has not been saved, the Save As dialog appears. 2 Enter a name into the Save As field, choose a location on your hard disk to save the file, then click Save. Note: If the project has been saved, the project file is updated without opening a dialog. To save a duplicate of a project 1 Choose File > Save As (or press Command-Shift-S). The Save As dialog appears. Chapter 6 Creating and Managing Projects 193 2 Enter a name into the Save As field, choose a location on your hard disk, then click Save. Important: When using the Save As command, use a name that is different from the name of any saved versions of the same project. Otherwise, you run the risk of overwriting a version of this project file you want to keep. Collecting Media When saving a project, you can to gather the media used in the project in a folder. Collecting these files organizes your project media in a single place, making portability and backup easier. By default, Collect Media is turned off. To use the Collect Media save function 1 Choose File > Save As (or press Command-Shift-S). The Save As dialog appears. 2 Choose Copy to Folder from the Collect Media pop-up menu. This creates a folder with the name specified in the Save As field. A Motion project file of the same name is created in that folder, as well as a folder named “Media” containing all media files used in the project. When using this option, you can specify whether unused media are collected as well. Using Autosave Motion saves backups of your project in a folder on your hard disk. In the Cache pane of Motion Preferences, you can specify how frequently projects are saved, as well as the location of the saved files. Saved projects are time- and date-stamped. For more information about autosave, see Autosave. To store autosaved projects in a specific location 1 Choose Motion > Preferences (or press Command-Comma). 2 Click Cache. 3 In the Autosave group, select Use Autosave Vault. By default, the Autosave Vault folder is located in your /Users/username/Movies/Motion Projects/ folder. 194 Chapter 6 Creating and Managing Projects To set a location for the Autosave Vault folder µ In the Cache pane of Motion Preferences, click Choose and select a location in the dialog. To revert to an autosaved project 1 Choose File > Restore From Autosave. The Restore Project dialog appears. 2 Choose a saved project from the pop-up menu. Reverting Projects The Revert to Saved command discards all changes you’ve made to a project since the last time you saved it. The Revert command is useful as a tool for trying out changes in your project. You can save your project in the state you like it, then make the changes you want. If you don’t like the result, use the Revert to Saved command to immediately go back to the way it was before. Note: You can also use the application’s unlimited undo feature to achieve the same purpose in incremental steps. For more information on the Undo command, see Edit Menu. To revert a project to the last saved version µ Choose File > Revert to Saved. Important: This command cannot be undone. Opening and Closing Projects You can open a saved project file in the Finder or from within Motion. Only one project can be open at a time. To open a project file in the Finder Do one of the following: µ Double-click a Motion project file. µ Select a Motion project file, then drag it onto the Motion application icon in the Applications folder or in the Dock, if you’ve placed one there. µ Select a Motion project file, then choose File > Open (or press Command-O). µ Control-click a Motion project file, then choose Open from the shortcut menu. Motion starts and opens the selected project. To open a project file from within Motion using the Open command 1 Choose File > Open (or press Command-O). The Open dialog appears. 2 In the Open dialog, navigate to the project file you want, then click Open. Chapter 6 Creating and Managing Projects 195 To create a project prepopulated with specific media 1 Choose File > Import as Project or press Shift-Command-I. The Import Files as Project dialog appears. 2 Navigate to and select the files to populate the project, Shift-clicking to select contiguous items or Command-clicking to select noncontiguous items. As you select files, format settings at the bottom of the dialog become available. Settings inherent to the selected files remain dimmed, but propagate to the new project. For example, because movie files have an inherent frame rate, aspect ratio, and field order, those settings are dimmed in the Import Files as Project dialog. Because still images do not have a frame rate or a field order, those settings are enabled in the dialog, allowing you to choose a frame rate and field order for the new Motion project. 3 If needed, set the Frame Rate, Aspect Ratio, Field Order, and Audio mix settings. If you selected an item from an image sequence, select the Image Sequence checkbox to have Motion use each image as a frame in a movie clip. For more information, see Image Sequences. Except for Frame Rate, these settings can be modified after the project is created, in the Properties Inspector. For more information, see Project Properties. 4 Click Import as Project. The file opens in a Motion project window. 196 Chapter 6 Creating and Managing Projects You can also open existing projects and templates, and create projects from presets using the Project Browser. For more information, see The Project Browser. Closing Projects Close a project by closing the project window or pressing Command-W. Moving and Archiving Motion Project Files To move a Motion project file to another computer, you must also move all media that the project uses, including all QuickTime, still image, and audio files. In addition, any third-party Motion plug-ins or nonstandard fonts used in the project must be installed on the new computer, or they’ll be unavailable to your project. Similarly, when you finish a project and want to archive it, it’s a good idea to archive the project file and all media, (especially media that wasn’t captured from a device-controllable video or audio source), graphics, fonts, custom behaviors, filters, and third-party add-ons used in the project. If you need to restore the project for later revisions, you’ll have everything you need to get started quickly. If you have a recordable CD or DVD drive, backing up your media is easy. For more information on copying files to a CD or DVD, see Mac Help in the Finder Help menu. The easiest way to collect all media for your project is to use the Collect Media feature. For more information, see Collecting Media. Note: If you move a project to another computer without collecting, its media can go offline even though you’ve moved its media files with it. For more information on how to relink media files to your project, see Online Versus Offline Media. Unused Media By default, media used by objects added to your project are managed by Motion. If you delete an object from the Canvas or Layers list, the source media is removed from the Media list. You can turn off this feature in the General pane of Motion Preferences. For more information, see Media. Searching for Projects Using the Finder Spotlight indexes the following properties of Motion projects, allowing you to perform advanced searches. Use Spotlight in the Finder to take advantage of this feature. Project property Description Width Project width, in pixels Height Project height, in pixels Duration Project duration, in seconds Layer name The name of a layer in a project Media name The name of a media object in a project Chapter 6 Creating and Managing Projects 197 Project property Description Pathname The path to a media object in a project Text The content of a text object in a project Description Text in the Project Description field in the Properties Inspector Marker name The name of a marker in the Timeline of a project Marker comment Text of a marker comment in a project Project Properties When you create a project, you specify a set of project properties—Resolution, Frame Rate, Duration, and so on. You can change these properties at any time, even after you add objects to the project. The Properties Inspector lets you define the most essential attributes of a project. By choosing different parameters, you can accommodate nearly any video or film format you need to output to. These properties are the default settings used when you export your project. To edit the properties of an existing project 1 Do one of the following: • Choose Edit > Project Properties (or press Command-J). 198 Chapter 6 Creating and Managing Projects • Select the Project object at the top of the Layers list, then open the Inspector and click Properties. The Inspector opens and displays the Properties pane. 2 In the Properties Inspector, change any necessary parameters, then click OK. Important: Project Frame Rate cannot be changed after a project is created. The Properties Inspector for the project contains settings for video file format, timecode display, motion blur, and other project attributes. Chapter 6 Creating and Managing Projects 199 General Settings The following parameter controls appear in the General section of the Properties Inspector: Preset: Use this pop-up menu to choose a common video format to base your preset on. After choosing a preset, you can adjust the other parameters in the Properties Inspector to customize your format settings. For more information about managing Motion project presets, see Creating, Editing, and Deleting Presets. Width and Height: Use this value slider to define the size of the Canvas and the default output resolution of your project. Drag left or right over the values to decrease or increase them. Frame size is usually defined by the video format you plan on outputting to. For example, NTSC DV format video is 720 x 480, whereas PAL DV format video has a frame size of 720 x 576. Pixel Aspect Ratio: Use this pop-up menu to set whether the project is created using square or nonsquare pixels. Computer displays, film, and high-definition video use square pixels, while standard-definition video uses nonsquare pixels. Choose Square for projects intended for the web, high-definition projects, and film, or choose a nonsquare pixel ratio corresponding to each international standard-definition broadcast format. A value slider to the right of this pop-up menu displays the numerical aspect ratio, in case you need to change the dimensions manually. Field Order: Use this pop-up menu to set field order if the project uses interlaced video. Project field order should match the field order of the device being used to output the resulting QuickTime file to video. When working with progressive-scan video or film, choose None. Frame Rate: Use this display field to see the project frame rate (in frames per second). Frame rate should match that of the format you output to. For example, film is 24 fps, PAL video is 25 fps, and NTSC video is 29.97 fps. Important: Frame rates cannot be changed for existing projects. Duration: Use this value field to modify the project’s Timeline duration. Use the adjacent pop-up menu to define the duration units (Frames, Timecode, or Seconds). Overwrite FCP Duration: (This checkbox appears only in Final Cut Transition projects.) When creating custom transitions in Motion for use in Final Cut Pro X, select this checkbox to overwrite the default transition duration (as defined in the Editing pane of Final Cut Pro Preferences). For more information, see Creating Templates for Final Cut Pro X. Start Timecode: Use this value field to set the starting timecode displayed in the project. Background Color: Use this color well to set the background color of the Canvas. Theme: Use this pop-up menu to assign a theme to the project. 200 Chapter 6 Creating and Managing Projects Background: Use this pop-up menu to define whether the Background Color is rendered as part of the alpha channel. Regardless of the selection, the Background Color is visible in the Canvas. There are three options: • Transparent: The background color does not render as part of the alpha channel. • Solid: The background color creates a solid alpha channel. • Environment: The background color creates a solid alpha channel and interacts with 3D projects, including blend modes and reflections. In the following images of the Canvas, Reflection is turned on for the elliptical shape (in the shape’s Properties Inspector). In the left image, the elliptical shape retains its original white color because Background is set to Solid. In the right image, the pink background is reflected in the elliptical shape because Background is set to Environment. Motion Blur and Reflections Settings Below the General section of the Properties Inspector are two sections that can affect how your project looks when exported: Motion Blur and Reflections. The Motion Blur controls simulate the effect a camera’s mechanical shutter has on a frame of film or video when the camera or its subject is moving. In Motion, motion blur affects objects in your project that are animated using behaviors or keyframes. This allows you to create more natural-looking motion in your project, even though the animation is artificially created. As with a camera, faster objects have more blur; slower objects have less blur. No motion blur Motion blur at 180° Motion blur at 360° Chapter 6 Creating and Managing Projects 201 The Motion Blur section of the Properties Inspector has two settings: Samples: Use this slider to set the number of subframes rendered per frame, where 1 frame represents 360 degrees. Higher Samples values result in a higher-quality motion-blur effect, but are more processor-intensive. The default Samples value is 8. The maximum possible value is 256. Shutter Angle: Use this slider to define the size of the motion blur that appears for animated objects. Increasing the shutter angle increases the number of frames over which the shutter is open. The following image shows a shape keyframed to move quickly across the Canvas horizontally. In the next image, Motion Blur is enabled and Samples is set to the default value of 8. Note: When using larger Shutter Angle values, it may be necessary to increase the Samples value to eliminate unwanted artifacts. In the above image, the Shutter Angle is set to the default of 360 degrees, which represents 1 frame. In the following image, Shutter Angle is set to 600 degrees. 202 Chapter 6 Creating and Managing Projects The Reflections section of the Properties Inspector has one parameter: Maximum Bounces: Use this slider to limit the number of recursive reflections that can occur when two or more shiny objects reflect one another. This parameter is intended to prevent an endless repetition of reflective bounces. For more information about reflections, see Reflections. Description Field At the bottom of the Properties Inspector is a field where you can enter a brief description of the project, including significant characteristics of the project preset, such as frame size and frame rate. Changing the Frame Size of a Project When you change the frame size of a project (via the Width and Height parameters in the Properties Inspector), you effectively change the size of the Canvas, increasing or reducing layout space for objects in the project. Changing the size of the Canvas does not change the size or position of objects in the Canvas. Further, because the coordinate system in Motion uses 0, 0 as the center of the frame, all objects remain arranged in their current positions relative to the center of the frame as the edge of the frame shrinks toward the center. This can result in objects being cut off as the frame shrinks past their edges. In the following example, a project with a frame size of 1280 x 720 is reduced to 320 x 240. The 720 x 480 video clip is smaller than the original frame size but bigger than the reduced frame size. Original frame size (1280 x 720) Reduced frame size (320 x 240) Note: Because Motion is resolution-independent, it’s not usually necessary to change your project’s frame size. You can output a project at any size, regardless of the current frame size, by changing the settings in Motion’s Share windows. For example, if you build a project with a frame size for standard-definition broadcast, you can still export a half-resolution version of the project to post on the web by exporting to the necessary size. Chapter 6 Creating and Managing Projects 203 Adding Media to a Project After you create a project, you typically import media files to create a composition. All media types—movie clips, still images, and audio files appearing in the File Browser, or other media items appearing in the Motion Library—are added to your project using the same methods. To learn about the File Browser, where you access files on your disks, see File Browser. To learn about the Library, where you find the content built into Motion, see Library. Note: Layered Photoshop files have additional import options available from the drop menu. For more information, see Adding Layered Photoshop Files to a Project. The Link Between Motion Layers and Media Files Before learning how to add media to your Motion project, it’s important to understand the correspondence between layers and source media. Every time you add a file to your project, you create a link between the layer you see in the Layers list and Canvas and its corresponding media file on your hard disk. Motion is a nondestructive application. This means that changes you make to media objects in a Motion project aren’t applied to the source media files on the hard disk. Because of this link, when you add a file to a project, the file must remain available on your hard disk for as long as you work on that project. If you move, delete, or rename media files that correspond to layers in a Motion project, those layers go “offline.” If this happens, it’s easy to reconnect the offline layers in your project with new copies of the media you lost, assuming those files are still available. For more information, see Online Versus Offline Media. Selecting Files in the File Browser You can add media files to a project using the File Browser or the Import command in the File menu. In most cases, the File Browser is more convenient and gives you more control over how the resulting objects appear in the project. Before adding media files, you select them in the File Browser. You can add files to a project individually or in groups. To select media files in the File Browser 1 Open the File Browser. 2 Select files by doing one of the following: • Click a single file. • While holding down the Shift or Command key, click to select multiple files. • In list view, press Shift and use the Up Arrow and Down Arrow keys to add files to the current selection. 204 Chapter 6 Creating and Managing Projects Adding Media Files to a Project Use the following procedures to add media files to Motion. Note: Although iTunes and iPhoto files can be added via the File Browser, it is better to add them via the Music and Photo categories in the Motion Library. Using the Library allows you to browse for files using the playlist or photo album features available in iTunes and iPhoto. For more information, see Adding iTunes and iPhoto Files from the Library. To add media files to a project in a new group 1 If the Create Layers At setting in the Project pane of Motion Preferences is set to “Current frame,” move the playhead to the frame in the Timeline where you want the first frame of the file to start. Note: If the Create Layers At setting is set to “Start of project,” this step is unnecessary because imported files are placed at frame 1. 2 Select media files in the File Browser. 3 Do one of the following: • Drag the files into the Canvas, placing them at any position. • Click the Import button to add the files to the center of the Canvas. • Drag the files into the empty lower area of the Layers list. • Drag the files into the empty lower area of the Timeline. • Choose File > Import (or press Command-I), select files in the Import Files dialog, then click Open. A new group appears the top of the Layers list, and all imported files appear as layers nested in the group. Each new layer’s start time in the Timeline is set to the position of the playhead in step 1. To add media files to a group 1 If the Create Layers At setting in the Project pane of Motion Preferences is set to “Current frame,” move the playhead to the frame in the Timeline where you want the first frame of the file to start. Note: If the Create Layers At setting is set to “Start of project,” this step is unnecessary because imported files are placed at frame 1. 2 Open the File Browser and Layers list. 3 Select media files in the File Browser. 4 To nest the media files in a group, do one of the following: • Drag the files on top of a group in the Layers list. The imported files appear as new layers in the group, placed above existing layers in the group. Chapter 6 Creating and Managing Projects 205 • Drag the files between any layers in a group. A position indicator shows where the layers will be placed when you release the mouse button. • Drag the files into the Timeline, placing them between any layers nested in an existing group. Note: For more information on adding objects to the Timeline, see Using the Timeline. When you add a media file to a project, the file appears as a layer in the Canvas, Timeline, Layers list, and Media list. Each layer’s start time in the Timeline is set to the position of the playhead in step 1. You can also add media files to your project without having them appear in the composition. You do this by ragging a file into the Media list. This allows you to store media objects you might want to use in the future. To drag media files to a project without using them in the composition 1 Open the Media list. 2 Drag media files from the File Browser into the Media list. The resulting media objects are added to the project but don’t appear in the Canvas, Layers list, or Timeline. Adding Layered Photoshop Files to a Project You can add a layered Photoshop file to your project by dragging it to the Canvas, Layers list, or Timeline, or by using the Import button or Import command. Using the Import button (in the preview area) collapses all layers of the Photoshop file into a single Motion layer, by default. To preserve the layers of the imported file, use the drop menu or the File > Import command. To add a layered Photoshop file using the drop menu 1 Drag a layered Photoshop file from the File Browser into the Canvas, Layers list, or Timeline. 2 Before releasing the mouse button, pause until the Canvas drop menu appears and pointer becomes curved. This menu presents commands for importing the layered file. 3 Continuing to hold down the mouse button, drag the curved pointer over a command in the drop menu, and when the menu item is highlighted, release the mouse button. The layers of the Photoshop file are added using the command you choose. The Canvas drop menu has the following options: • Import Merged Layers: All layers of the Photoshop file are collapsed into a single Motion layer. • Import All Layers: A group is created and nested in the group. Each layer of the Photoshop file is preserved as a separate Motion layer in this new group. 206 Chapter 6 Creating and Managing Projects • [Individual layers]: Each layer in the Photoshop file appears as a separate item in the drop menu. Selecting a layer adds only that layer to the project, where it appears as a single Motion layer. Note: When a Photoshop file contains more layers than can be displayed in the drop menu, the Choose Layer option appears in the drop menu. After you click the Choose Layer option, the Pick Layer to Import dialog appears. To add a layered Photoshop file using the Import command 1 Choose File > Import. 2 Select the layered Photoshop file to import, then click Import. The Pick Layer to Import dialog appears. 3 Choose a command from the Layer Name pop-up menu: • Merged Layers: All layers of the Photoshop file are collapsed into a single Motion layer. • All Layers: A group is created and nested in the selected group. Each layer of the Photoshop file is preserved as a separate Motion layer in this group. • [Individual layers]: Each layer in the Photoshop file appears as a separate item in the drop menu. Selecting a layer adds only that layer to the project, where it appears as a single Motion layer. If you don’t like the layer you chose, you can pick a different one from the Photoshop file without deleting or importing again. You do so by selecting the recently imported Photoshop layer, then choosing a different Photoshop layer from the Layer pop-up menu in the Properties Inspector. Managing Layers in a Project When you add a media file to your project, a corresponding image layer appears in the Canvas, Layers list, and Timeline. You can duplicate any image layer or effects object in the Canvas, Layers list, or Timeline to create as many copies as you need. Each copy you create has individual parameters in the Inspector, which lets you modify and animate each duplicate layer. The Relationship Between Source Media and Image Layers Every media file you add to your project places corresponding source media in the Media list. This means that if you import the same file into your project five times, five identical source media items are added in the Media list. However, if you duplicate a layer in the Layers list, you create an instance of the layer but not a new source item in the Media list. Rather, both duplicate layers are linked to a single source item in the Media list. Chapter 6 Creating and Managing Projects 207 By default, media added to your project is managed by Motion. If you delete a layer from the Canvas or Layers list, the source media is removed from the Media list. You can turn off this media management feature in the General pane of Motion Preferences. For more information, see Media. Duplicating Files If you need more copies of an object in your project, use the Duplicate command or drag a source media from the Media list to the Canvas or Timeline. Both methods create a new instance of the source media. Another way to duplicate an object is to use the Make Clone Layer command. For more information on the Make Clone Layer command, see Making Clone Layers. In a project with duplicated layers, you can adjust the attributes of all duplicates simultaneously by adjusting the source media’s parameters. You do this by selecting the source media in the Media list, then modifying its parameters in the Media Inspector. These parameters define the source media’s essential properties, including frame rate, pixel aspect ratio, interlacing, and alpha channel parameters. There are also parameters that allow you to define source media’s end condition, reversal, cropping, and timing. For more information on Media parameters, see Source Media Parameters. Seeing the Relationship Between Layers and Source Media Two useful parameters let you see the relationship between image layers in the composition and their source media in the Media list: • Media parameter: This image well in the Properties Inspector identifies the source media of the selected layer in Layers list. • Linked Objects list: This list in the Media Inspector displays all image layers in the Layers list that correspond to the source media selected in the Media list. Changing a layer’s name in the Layers list updates the name that appears in the Linked Objects list. Using the Reveal Source Media Command A fast way to find a layer’s source media is to use the Reveal Source Media command. To reveal a layer’s source media in the Media list Do one of the following: µ Control-click a layer in the Canvas, Layers list, or Timeline, then choose Reveal Source Media from the shortcut menu. µ Select a layer, then choose Object > Reveal Source Media (or press Shift-F). The Media list opens, with the source media selected. The Media Inspector also opens, displaying the source media’s parameters. 208 Chapter 6 Creating and Managing Projects Online Versus Offline Media Adding a media file to a Motion project creates a link between the resulting image layer in Motion and its corresponding media file on disk. If you move, delete, or rename media files on disk, the linked layers in Motion go offline. Media can also go offline if you give someone a project file without also providing the source media it uses. Offline layers appear as checkered rectangles that occupy the entire bounding box of the missing image. When a layer goes offline, a question mark icon appears beside the empty preview thumbnail in the Layers list. Icon indicates that media is offline. In the Media list, a question mark icon replaces the missing preview thumbnail. Offline media Chapter 6 Creating and Managing Projects 209 When you open a project file with offline media, a dialog appears listing all files that can’t be found. If the media was moved to another folder or disk instead of being deleted, you might be able to locate them on your computer using the offline media Search feature. If you know the location of the missing media, you can display a manual reconnection dialog and navigate to the files without searching. If the file was renamed, you must locate it manually. To manually reconnect an offline file 1 In the alert dialog, click Reconnect. In the manual reconnection dialog that appears, navigate to the location of the missing file. 2 Select the file, then click Open. The file is reconnected. If more than one missing media file appears in the same folder, all files are reconnected. If you can’t find the file manually, use the offline media Search feature. To search for and reconnect offline media files 1 In the alert dialog, click Search. Motion attempts to find the first missing file in the list. If the search is successful, a dialog shows the missing media file. 2 Select the file, then click Open to reconnect it. If the search is unsuccessful, use the manual reconnection dialog to navigate to the file. When you locate it, select the file, then click Open. To cancel an active search 1 Click Cancel. The manual reconnection dialog appears. 2 In the dialog, navigate to the file’s location, select the file, then click Open. The file is reconnected. 210 Chapter 6 Creating and Managing Projects To restore offline media using the Reconnect button 1 In the alert dialog, click Reconnect. A manual reconnection dialog appears. 2 In the dialog, navigate to the file’s location, select the file, then click Open. The file is reconnected. If you do not immediately reconnect an offline layer, you can still save changes to the project and even close it again, then reconnect the offline layers later, via the Reconnect Media File button in the Media Inspector To reconnect offline media via the Media Inspector 1 Open the Media list. 2 Select the offline layer to reconnect. 3 Open the Media pane in the Inspector. 4 Click the Reconnect Media File button under the Linked Objects list. Motion attempts to find the first missing file in the list. If it is found, a file dialog appears with the missing media file selected. If the search is unsuccessful, you navigate manually to file’s location, then select the file. 5 Click Open to reconnect the file. Note: You can also use the File > Reconnect Media command. If more than one missing media file appears in the same folder, clicking Open reconnects all files. Deleting Objects from a Project There are two ways to delete an object (an image layer or effects object) in Motion: • You can delete a single instance of an object from the composition by deleting it in the Layers list, Timeline, or Canvas. By default, this removes the object from use and removes its source media in the Media list if there are no other instances of it in the composition. • You can delete the source media in the Media list. Doing this removes all corresponding instances of that media in your project. You can delete a single instance of an object from the composition by deleting it in the Layers list, Timeline, or Canvas. By default, this removes the object from use and removes its source media in the Media list if there are no other instances of it in the composition. Alternatively, you can delete the source media in the Media list. Doing this also removes all corresponding instances of that media in your project. Chapter 6 Creating and Managing Projects 211 To delete objects from a project 1 Select objects by doing one of the following: • To delete an object, select it in the Layers list, the Timeline, or the Canvas. • To delete multiple objects, Shift-click to select the objects. Note: In the Layers list or Timeline, you can Command-click to select noncontiguous objects. 2 Do one of the following: • Choose Edit > Delete. • Press Delete. The objects are deleted from your project, but their corresponding source media files on disk remain untouched. To delete all objects that correspond to source media in the Media list 1 Open the Media list, then select the source media to delete. 2 Do one of the following: • Choose Edit > Delete. • Press the Delete key. A dialog appears and prompts you to confirm the deletion. 3 Click Delete. Exchanging Media in a Project You can overwrite an image layer with media from a different file in the File Browser or Library. This process, called exchanging media, replaces the layer’s original source media link with a new source media link. When you exchange a layer’s source media, the layer retains its Property Inspector parameter values (including the Position, Scale, and Opacity, and Blend Mode), as well as applied filters, behaviors, masks, or keyframes. The exchange operation allows you to replace layers in your project even after you’ve modified and animated them. If you’re unhappy with an element of your composition, exchange it with a new one. Important: You can only exchange layers that are linked to media files on disk. You cannot exchange Motion-generated objects such as particle systems, generators, shapes, or text objects. To exchange media in a layer 1 Drag a media file from the File Browser onto a layer in the Layers list. 2 When a curved pointer appears, release the mouse button. 212 Chapter 6 Creating and Managing Projects The layer’s original source media is replaced by the new source media. The curved pointer appears when you drag a new object over an existing object. You can also exchange source media in the Media Inspector. To exchange source media via the Media Inspector 1 In the Media list, select the object to replace. 2 Open the Media Inspector or HUD. 3 Click Replace Media File. A file navigation dialog appears. 4 Navigate to the file that will replace the current source media. 5 Click Open. The original source media is replaced by new source media in the Media list and in any layers in the project linked to the source media. Source Media Parameters When you select a source media item in the Media list, the Media Inspector displays adjustable parameters that define how the image or movie clip is displayed and composited in the project. Motion attempts to interpret the correct parameter settings for each source media item you add to a project. However, additional manual adjustment is sometimes necessary. Because Motion is a nondestructive application, changes made to these parameters are not applied to the source media files on disk. Parameter changes affect how objects are drawn in Motion. Chapter 6 Creating and Managing Projects 213 Media Inspector The following controls let you modify source media in the Media list. Modifying source media modifies all layers in a project linked to that source media. Note: The parameters described below do not apply to Photoshop files imported as separate layers. PDF files with transparent backgrounds do not have the Alpha Type or Invert Alpha parameters. 214 Chapter 6 Creating and Managing Projects Alpha Type: Use this pop-up menu to choose how Motion deals with alpha channels in the media item. An alpha channel contains information defining areas of transparency in the image or movie. When you import an image file or QuickTime movie, its alpha channel is immediately recognized by Motion. There several different ways to embed alpha channel information into files, which correspond to the options in this menu. Motion assigns an option based on an analysis of the object when it is imported, but you can override the default if necessary, by choosing any of the following: • None/Ignore: This is the default setting for objects with no alpha channel. This option also allows you to ignore an object’s alpha channel, so the entire object appears solid. • Straight: These alpha channels are kept separate from the red, green, and blue channels of an image. Media files using straight alpha channels appear fine when used in a composition, but they may look odd when viewed in another application. Translucent effects such as volumetric lighting or lens flares in a computer-generated image can appear distorted until the clip is used in a composition. If Straight is chosen but you see a black, white, or colored fringe around the object, this parameter is incorrectly set and should be changed to a Premultiplied option, depending on the color of the fringe. • Premultiplied-Black: This type of alpha channel is multiplied with the clip’s red, green, and blue channels. As a result, objects with premultiplied alpha channels look correct, even with translucent lighting effects, because the entire image is precomposited against a solid color. This option interprets alpha channels that are precomposited against black. • Premultiplied-White: This option interprets alpha channels that are precomposited against white. • Guess Alpha Type: This option forces Motion to analyze the file in an attempt to figure out what kind of alpha channel is used. If you’re unsure, use this setting. Invert Alpha: Select this checkbox to invert an alpha channel that is incorrectly generated in reverse. Ordinarily, an alpha channel is a grayscale channel, where white represents areas of 100 percent opacity (solid), gray regions represent translucent areas, and black represents 0 percent opacity (transparent). Pixel Aspect Ratio: Use this pop-up menu to set the type of pixel relevant to the project, square or nonsquare. In general, objects created for computer display, film, and high-definition video use square pixels, while objects created for some video formats (such as DV, HDV, DVCPRO HD, and others) use nonsquare pixels. A value field to the right of this pop-up menu displays the numeric aspect ratio, in case you need a custom ratio. By correctly identifying each object you add to your project, you can mix and match both kinds of media. Chapter 6 Creating and Managing Projects 215 Field Order: Use this pop-up menu to choose a field order that matches the field order of the device used to capture an interlaced clip. There are two choices: Upper (Odd) or Lower (Even). If you choose incorrectly, you’ll notice during playback that the video stutters during playback. When this happens, choose the opposite field order. Clips shot on film or with a progressive scan video camera have no interlacing, therefore Field Order should be set to None. By correctly identifying each object in your project, you can mix and match clips with a different field order. For more information about field order and interlacing, see Field Order. Frame Rate: Use this pop-up menu to choose a frame rate in frames per second (fps) that matches a clip’s native rate. For example, film is 24 fps, PAL video is 25 fps, and NTSC video is 29.97 fps. Additional frame rates are available for other video formats. If the frame rate you require is not listed, enter a number in the text field to the right of the pop-up menu. If you modify a QuickTime file’s frame rate but need to change it back to the file’s original rate, choose “From file” at the bottom of the Frame Rate pop-up menu. Although you can mix clips using different frame rates, clips playing at a frame rate different from that of the project might not play smoothly. Note: Project frame rates are determined by the project preset. To edit a preset or to create a preset, choose Motion > Preferences and use the options in the Presets pane. Fixed Width and Fixed Height: Use these sliders (available for still images) to change the resolution of source media. When the Large Stills control (in Motion Preferences) is set to Scale to Canvas Size, these values display the resolution of the original file. When a PDF is selected in the Media list, these controls set the maximum resolution to which a PDF object can be smoothly scaled. For more information, see Fixing the Resolution of a PDF Object. Crop: Click the disclosure triangle to reveal four sliders that define the number of pixels to be cropped from each of the source media’s four sides, relative to the outer edge of the bounding box that surrounds that source media. Cropping an item in the Media list also crops all instances of that item in layers of the project. A similar Crop parameter appears in the Properties Inspector when you select a layer in the Layers list. For more information, see Parameters in the Properties Inspector. Timing: Use these value sliders to set the start, end, and duration of the source media: • Start: Sets the In point of the source media, in constant and variable speed modes. Adjusting this parameter moves the In point to the specified frame without affecting the duration of the media. • End: Sets the Out point of the source media, in constant and variable speed modes. Adjusting this parameter moves the Out point to the specified frame without affecting the duration of the media. 216 Chapter 6 Creating and Managing Projects • Duration: Sets the total duration of the source media. If Time Remap is set to Constant Speed, adjusting Duration also affects the Speed and Out point. If Time Remap is set to Variable Speed (in the Timing controls of the Properties Inspector), adjusting Duration does not affect variable speed playback. Linked Objects: Use this list to see all objects in the Layers list that are linked to the selected source media in the Media list. The first column shows the name of the group containing an instance of the source media; the second column shows the layer name. Changing the layer name in the Layers list updates the name appearing in this list. Replace Media File: Use this button to relink media in your project to a source file on disk. This feature is primarily useful for relinking offline media, but can also be used to change source media (changing all layers that are linked to that source media). Summary: Use this information pane to see the properties of the media file on disk that is linked to the item selected in the Media list. File Types Supported by Motion Motion accepts the most popular multimedia file formats supported by QuickTime in the following categories: • QuickTime movies • Still image files • Image sequences • Layered Photoshop files • PDF files • Audio files QuickTime Movies Motion supports QuickTime movies using any file format (codec) installed on your computer. Although you can import movies in nearly any codec, avoid using highly compressed clips in projects. Excessively compressed clips can display undesirable visual artifacts. Fortunately, QuickTime provides many codecs ideal for moving uncompressed or minimally compressed video files between applications, including Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Uncompressed 8- and 10-bit 4:2:2, Pixlet, None, Animation, Apple M-JPEG A and B, DVCPRO-50, and Apple DV/DVCPRO. Some codecs support alpha channels, which define areas of transparency in the clip. If a QuickTime clip has an alpha channel, Motion uses it in your project. Chapter 6 Creating and Managing Projects 217 Mixing Different Kinds of QuickTime Files You can combine clips that are compressed with different codecs in the same project. You can also combine clips that have different frame sizes, pixel aspect ratios, and interlacing. To learn more about alpha channels, interlacing, pixel aspect ratio, frame rates, and frame sizes, see Supported File Formats. Still Image Files You can import still image files using most popular still image formats, including SGI, Photoshop, BMP, PICT, JPEG, TIFF, TGA, and JPEG-2. As with video clips, you can mix still image files with differing frame sizes and pixel aspect ratios. Using High-Resolution Still Images A common and effective use of still images in motion graphics work is the animation of high-resolution files. The DPI (dots per inch) of image files as defined in programs like Photoshop does not apply to video, because the dimensions of each imported still image are defined by the number of pixels. If the dimensions of an imported image are larger than the frame size of the Motion project, the image extends beyond the borders of the Canvas. You can reduce the scale of the image to fit the project’s frame size. You can also animate its Scale parameter (in the Properties Inspector) to zoom into or out of the image, or animate its Position parameter to pan the image. Because Motion is graphics-card dependent, file-size import limitations vary from computer to computer. When you import an image that is too large, an alert dialog appears, stating: “This media is too large to render at full resolution, and will be shown at a lower quality.” Click OK to import the image at a lower quality. For more information on recommended graphics cards, visit the Motion website at http://www.apple.com/finalcutpro/motion. For importing large still images, you can set an option in the Preferences window to import files at their original size or to scale images to fit the Canvas size. To set the large still image import preference 1 Choose Motion > Preferences (or press Command-Comma). The Motion Preferences window appears. 218 Chapter 6 Creating and Managing Projects 2 In the Still Images & Layers group of the Project pane, choose a setting from the Large Stills pop-up menu. Large Stills preference There are two options: • Do Nothing: Imports the image at its original size. In the following example, a 2311 x 1525 image is imported into a Broadcast HD 1080 project (1920 x 1080) with Do Nothing selected in the Preferences. The image is larger than the Canvas. • Scale to Canvas Size: Imports and scales the image to fit the project size while maintaining its native aspect ratio. Chapter 6 Creating and Managing Projects 219 In the following example, the same image is imported with Scale to Canvas Size selected in Preferences. The image is scaled—the equivalent of using the Select/Transform tool to scale down the image in the Canvas while pressing Shift. To observe that the image is merely transformed and has not changed resolution, select the image file in the Media list, then open the Media Inspector. The Fixed Width and Fixed Height parameters display the resolution of the original file. Fixed Width and Height parameters Still Image Duration When you import a still image, the image assumes a duration equal to the current duration of the project. Increasing the duration of the project does not increase the duration of an image that’s imported. Still images have infinite duration in Motion, so you can stretch them in the Timeline to be as long as necessary. For more information about modifying objects in the Timeline, see Using the Timeline. 220 Chapter 6 Creating and Managing Projects Image Sequences Numbered image sequences store video clips as individual still image files. Each image file has a number in the filename that indicates where it fits into the sequence. In a film clip that’s been digitally scanned, each file represents a single frame. In a video clip that’s been converted to an image sequence, each file contains both fields of a single video frame, with the upper and lower lines of the image saved together. Image sequences use the same variety of file formats as still image files. Some of the most popular formats for saving image sequences include SGI, BMP, JPEG, TIFF, and TGA. Like still image formats, many of these support alpha channels, which are used by Motion. Because image sequences have been around for so long, they remain the lowest-common-denominator file format for exchanging video across editing and compositing applications. Although QuickTime is increasingly used to exchange video clips between platforms, image sequences are still used, especially in film compositing. As with QuickTime video clips, you can mix image sequences of different formats, using different frame sizes, pixel aspect ratios, frame rates, and interlacing. For more information, see Supported File Formats. Important: Any imported image sequence must contain three or more digits of padding—for example, “imagename.0001.tif.” Collapsing Image Sequences The “Show image sequences as collapsed” button at the bottom of the File Browser allows you to display image sequences as a single object, rather than as the collection of files on your disk. Click to collapse or expand image sequences. Note: You can turn this feature off for numbered image files that aren’t used as an image sequence. For example, pictures taken with digital cameras often have numbered filenames that can be mistaken for an image sequence. Layered Photoshop Files You can also import layered Photoshop files. Many motion graphics professionals create layouts in Photoshop, then import the resulting multilayered file into Motion, where the layers are animated and combined with other imported and Motion-generated objects. There are several ways to import layered Photoshop files: • With all Photoshop layers merged together as a single Motion layer Chapter 6 Creating and Managing Projects 221 • With each Photoshop layer preserved as a separate Motion layer, nested in a new group • By choosing a single Photoshop layer When you import all Photoshop layers as individual Motion layers, Motion places them in a new group in the Layers list and Timeline. Each layer retains the position, opacity, and blend mode of its corresponding original Photoshop layer. Although you can import Photoshop text layers, the text appears in Motion as noneditable bitmap graphics. Incompatible Effects The following Photoshop effects are not imported into Motion: • Layer effects • Layer masks • Adjustment layers • Paths • Shapes Note: Motion does not support Photoshop layer sets. For more information on how to import layered Photoshop files, see Adding Layered Photoshop Files to a Project. PDF Files The PDF file format is a PostScript-based document format that accommodates PostScript-based graphics and text, as well as bitmap graphics. Areas of transparency in a PDF file are also transparent in Motion. PDF files are capable of storing PostScript-based illustrations. Unlike graphics file formats such as TIFF and JPEG, which save images as a collection of pixels at a given resolution divided into red, green, and blue channels, PostScript-based illustrations are saved as mathematical descriptions of how the artwork is drawn. As a result, PDF files using PostScript-based artwork and text have infinite resolution. The practical difference between bitmap files and PostScript-based files is that scaling a bitmap beyond 100 percent results in the image progressively softening the more you increase its size. PostScript-based illustrations remain sharp and clear no matter how large or how small you scale them. When importing a PDF file, its size is relative to the original page size of the file. As a result, even small graphics can have a large frame size, with empty space surrounding the graphic. When exporting a graphic as a PDF file for use in Motion, you may want to scale the graphic to fit the page dimensions, or reduce the page size in the source application’s page preferences to fit the graphic’s dimensions. 222 Chapter 6 Creating and Managing Projects Fixing the Resolution of a PDF Object Although PDF files have unlimited resolution, large PDF objects can consume a lot of video memory, which can hinder performance in Motion. To avoid this, limit the resolution of each PDF image to save video memory. By using fixed-resolution parameters, the files are rendered once, ensuring better performance. The fixed-resolution parameters for PDF objects are adjusted in the Media Inspector. Select the PDF source media in the Media list to activate the Media pane of the Inspector. Adjust the following controls to modify the PDF’s fixed-resolution parameters. Pixel Aspect Ratio: Use this pop-up menu to assign a nonsquare pixel aspect ratio to the file. In most cases, the “From file” menu option is the best choice because it assigns the PDF source file’s native aspect ratio. Choose a different menu item only if you want to override that native setting. Fixed Resolution: Select this checkbox to fix the resolution of PDF source media to the size specified in the Fixed Width and Fixed Height sliders. Fixed Width: Use this slider to set the maximum horizontal resolution to which a PDF object can be smoothly scaled. Fixed Height: Use this slider to set the maximum vertical resolution to which a PDF object can be smoothly scaled. Use Background Color: Select this checkbox to set a substitute a custom background color for transparent portions of the PDF. Choose the background color in Background Color controls Background Color: Use these color controls, available when Use Background Color is selected, to set the background color for transparent portions of the PDF. Crop: Use these sliders sliders (Left, Right, Bottom, and Top) to crop the edges of the PDF image, if necessary. These controls crop the PDF source media (and all layers linked to that source media). To crop an individual layer, use the Crop parameters in the layer’s Properties Inspector. Mixed Content in PDF Files Although PDF files can contain a mix of PostScript-based art, PostScript text, and bitmapped graphics, each format has different scaling properties. PostScript-based art and text scale smoothly, but bitmapped graphics embedded in a PDF file are subject to the same scaling issues as other bitmapped graphics formats. As a result, bitmapped graphics can soften if scaled larger than their original size. Note: Form objects, buttons, and JavaScript objects that are present in an imported PDF file do not appear in Motion. Chapter 6 Creating and Managing Projects 223 Multi-Page PDF Files You can import multipage PDF files. When you do, a parameter called Page Number appears in the Properties Inspector when the PDF object is selected. Drag the slider to set which page is displayed in the Canvas. Animate this parameter to display different pages over time. Important: Multilayered PDF files are not supported. To import a multilayered illustration, export each layer as a separate PDF file and import these as a nested group of objects in Motion. More About Alpha Channels Ordinary video clips and image files have three channels of color information: red, green, and blue. Many video and image file formats also support an additional alpha channel, which contains information defining areas of transparency. An alpha channel is a grayscale channel where white represents areas of 100 percent opacity (solid), gray regions represent translucent areas, and black represents 0 percent opacity (transparent). When you import a QuickTime movie or an image file into a project, its alpha channel is immediately recognized by Motion. The alpha channel is then used to composite that object against other objects behind it in the Canvas. There are two ways to embed alpha channel information into files. Motion attempts to determine which method a media file uses: • Straight: Straight alpha channels are kept separate from the red, green, and blue channels of an image. Media files using straight alpha channels appear fine when used in a composition, but they can look odd when viewed in another application. Translucent effects such as volumetric lighting or lens flares in a computer-generated image can appear distorted until the clip is used in a composition. • Premultiplied: The transparency information is stored in the alpha channel as well as in the visible red, green, and blue channels, which are multiplied with a background color (generally black or white). The only time it really matters which kind of alpha channel an object has is when Motion doesn’t correctly identify it. If an media item’s alpha channel is set to Straight in the Media list when it’s really premultiplied, the image can appear fringed with the premultiplied color around its edges. If this happens, select the problematic item in the Media list, then change its Alpha Type parameter in the Media Inspector. Audio Files You can import many audio file formats into your project, including WAV, AIFF, .cdda, MP3, and AAC. Although Motion is not a full-featured audio editing and mixing environment such as GarageBand or Logic Pro, you can import music clips, dialogue, and sound effects. If you import a QuickTime file with mono or stereo tracks of audio, the audio appears in the Audio Timeline. 224 Chapter 6 Creating and Managing Projects You can import audio clips with various sample rates and bit depths. When you do, Motion resamples audio tracks to the sample rate and bit depth used by your computer. The default is 16-bit, 44.1 kHz float for the built-in audio interface. If you use a third-party audio interface, audio is remixed to the sample rate and bit depth used by that device. You can import audio files with sample rates up to 192 kHz and with bit depths up to 32 bits. Mono and stereo files are supported. Multichannel audio files are also supported. For more information about file formats supported by Motion, see Audio Formats. For more information on using audio in Motion, see Working with Audio. A seamless way to browse for and import music from your iTunes library is to use the Music category in the Motion Library. For more information, see Adding iTunes and iPhoto Files from the Library. Note: You cannot import rights-managed AAC files, such as non-iTunes Plus tracks, purchased from the iTunes Store. Using Media in the Library Motion ships with a collection of built-in media and effects that you can use in projects. This content is available in the Library. Categories Subcategories The Library sidebar consists of a two-column pane. The left column displays the categories of media and effects. When you select a category, subcategories appear in the right column. Selecting a subcategory displays a collection of related media or effects in the Library stack below. Library Categories The Library contains the following categories of content and effects: Chapter 6 Creating and Managing Projects 225 Behaviors and Filters Behaviors and filters are applied to image layers that have been added to the project. A behavior or filter must be attached to an image layer to have an effect. Behaviors and filters can be customized after they are added to a project, and customized versions can be stored in the Library for future use. For more information about behaviors, see Using Behaviors. For more information about filters, see Using Filters. Image Units (Filters) The Image Units category appears in the Motion Library if you are running Mac OS X v10.6.8 or later. Although Motion generally supports the operating system’s Core Image Units (filters), some image units may not work as expected in Motion. Generators Generators are user-customizable computer-generated objects that can be used to create graphic elements. When you add a generator to your project, it adapts to the frame size and frame rate of the project. Generators also have infinite duration, so they can play as long as necessary. Generators have all property parameters belonging to other objects. Properties specific to each generator also appear in the Generator Inspector when a generator is selected. You can save customized versions of generators in the Library for future use. For more information about the generators available in Motion, see Working with Generators. Image Units (Generators) The Image Units category appears in the Motion Library if you are running Mac OS X v10.6.8 or later. Although Motion generally supports the operating system’s Core Image Units (generators), some image units may not work as expected in Motion. Particle Emitters Several categories of premade particle emitters let you add effects ranging from simulations of smoke, fire, and explosives to animated abstract textures that you can use in different ways. All premade particle systems can be customized after you add them to your project. For more information about using particle systems, see Working with Particles. Replicators Several categories of premade replicators let you add background, transitional, or other types of animated patterns. All premade replicators can be customized after you add them to your project. For more information about replicators, see Using the Replicator. 226 Chapter 6 Creating and Managing Projects Shapes This category contains premade shapes that you can use as visual elements or as image masks. Each shape is a Bezier shape and can be customized using Motion’s shape-editing tools. For more information about editing shapes and masks, see Using Shapes, Masks, and Paint Strokes. Gradients The Gradients category contains gradient presets for use in the gradient editor found in particle system emitters and cells, as well as in text objects and shapes. You can also save your own custom gradients. Fonts Fonts installed on your computer appear in this category. Fonts are organized into subcategories based on the categories of fonts defined in the Font Book application. For more information about Font Book, see Mac Help in the Finder Help menu. You can use font categories to preview the fonts available on your computer. You can also drag fonts onto text objects to change the typeface they use. For more information about using fonts with text objects, see Using the Library Font Preview. Text Styles Text styles are presets that can be applied to text objects, changing their style parameters. These style parameters include Face, Outline, Glow, and Drop Shadow. Dragging a text style onto a text object instantly applies that style to the text. For more information on text styles, see Editing Text Style. Shape Styles Shape styles are presets that can be applied to shapes and paint strokes to change their style parameters. Dragging a shape style onto a shape instantly applies that style. For more information on shape styles, see Saving Shapes and Shape Styles. Music and Photos These categories allow you to browse for and import audio files from your iTunes library and image files from your iPhoto library. The Music subcategories that appear in the Motion Library are playlists created in iTunes. The Photos subcategories are albums created in iPhoto. The contents of each library, album, or playlist appear in the file stack. For more information on importing iPhoto or iTunes files, see Adding iTunes and iPhoto Files from the Library. Chapter 6 Creating and Managing Projects 227 Content Motion ships with a collection of premade graphics and Motion-generated objects that appear in the Content category. These objects can be dragged into the Canvas and used as a design element in a project. Some subcategories contain objects used to make the templates included with Motion. The one exception is the Particle Images subcategory, which comprises particle cell sources used to generate the particle emitter presets included with Motion. Note: Dragging a media object into the Content category leaves its corresponding file on disk in its original location. For this reason, centralize all media you plan on importing into the Library for future use into a dedicated and predictable location on disk, to prevent accidentally moving, renaming, or deleting those files. Favorites and the Favorites Menu It’s easy to customize the behaviors, filters, particle systems, gradients, and generators used in Motion to create effects. These customized objects are saved into their corresponding categories. The Favorites category provides a place to put objects—built-in or custom-made—that you use frequently. You can also place frequently used media files (such as PDF or TIFF files) into the Favorites category. Objects you place in the Favorites category are available to every project you create in Motion. Objects you place in the Favorites Menu folder appear in the Favorites menu, for even faster access. When you choose an item from the Favorites menu, that item is placed into the selected layer, positioned at the center of the Canvas. Objects you put in the Favorites Menu are available to every project in Motion. Objects dragged into the Favorites and Favorites Menu categories are saved into the /Users/username/Library/Application Support/Motion/Library/Favorites/ and /Favorites Menu/ directories, respectively. Adding Content to the Library You can add customized versions of generators, filters, behaviors, and gradients to categories in the Library. Further, if you work on projects that frequently recycle the same graphics elements, or if you have a library of graphics that you use regularly, you can add these media files to the Favorites category. You should add custom content to the Favorites category. Content you put into the Library is available to every project in Motion. To add Motion-generated objects to a Content category µ Drag an object from the Layers list, Canvas, or Timeline to the Favorites folder in the Library. Important: Each category except Content, Favorites, and Favorites Menu is filtered by the type of object it represents. For example, you can place a user-customized filter in the Filters category, but you cannot place a filter into the Behaviors category. 228 Chapter 6 Creating and Managing Projects You can also place media from disk into the Content, Favorites, or Favorites Menu categories. Using Custom Objects from the Library When you drag a custom object from the Library to the Canvas, the center of the object is dropped where you release the mouse button. If you use the Apply button in the preview area to add the object, the object is added at the center of the Canvas. When you drag objects to the Canvas that were saved with the “All in one file” drop menu option, the objects are dropped where you release the mouse button and are positioned according to their arrangement when originally saved to the Library. If you use the Apply button in the preview area to add the object, the objects are added at the center of the Canvas. Note: When you drag a custom mask from the Library into a project, the mask retains the position where it was saved (relative to the image or footage it is dropped on). To add a media object to the Favorites category µ Drag a media object from the Layers list or Media list, or from the File Browser, into the Favorites folder in the Library. When you add your own content, you can create additional folders to add subcategories that appear in the subcategory column. To create a subcategory in a category 1 Open the Library and select a category. 2 Click the New Folder button (+) at the bottom of the Library. 3 Rename the folder to suit your needs. This folder appears in the subcategory column when that category is selected. To remove objects or folders from a Content category µ Select an object or folder in the Library stack, then do one of the following: • Choose Edit > Delete. • Press Command-Delete. When Library Media Becomes Unavailable As with any other object used in a Motion project, Library media used by a project must be present and installed on your computer for that media to appear correctly in Motion. If someone gives you a project file and you don’t have the same filters or fonts used in the file, a warning appears when you open the project, listing the items that are unavailable. Chapter 6 Creating and Managing Projects 229 You can close the project and install the necessary files on your computer, or open the file. When you open a file with missing media, the following occurs: • Missing Content: Missing content is treated like any other missing media item. For more information about reconnecting media, see Online Versus Offline Media. • Missing Filters: When a filter is missing, a placeholder object appears in the Layers list and Timeline. When you reinstall the missing filter, the filter object replaces the placeholder, and the effect is applied properly. • Missing Fonts: When fonts are missing, the text objects that use those fonts default to Helvetica as a temporary substitute. Missing international fonts substitute the default system font for the relevant language. Adding iTunes and iPhoto Files from the Library You can add files from your iTunes and iPhoto libraries to a project via the Motion Library. The iTunes library and playlists and iPhoto albums appear in two Library subcategories, Music and Photos. Note: Although a connected iPod appears in the File Browser as a hard disk, you can only browse for and import iPod files that are stored as data. Music transferred to the iPod via iTunes cannot be imported into Motion. To add an audio file from iTunes 1 In the Library, select the Music category. The iTunes library and playlists appear. By default, All is selected (the iTunes library). 2 Select a playlist, then select an audio file from the stack. Note: When displayed in list view, the Music category shows information created in iTunes, such as Name, Artist, Album, Duration, and Size of the file. 3 Do one of the following: • In the preview area, click Apply. • Drag the audio file to the Canvas, Layers list, or Audio Timeline. Note: Rights-protected AAC files cannot be imported into Motion and do not appear in the file stack. This includes non-iTunes Plus music purchased from the iTunes Store. For more information on working with audio files, see Working with Audio. To add a file from iPhoto 1 In the Library, select the Photos category. The iPhoto albums appear. By default, All is selected (the iPhoto library). 2 Select an album, then select a file from the stack. Note: When displayed in list view, the Photos category shows information created in iPhoto, such as Name and Size of the file. 230 Chapter 6 Creating and Managing Projects 3 Do one of the following: • In the preview area, click Apply. • Drag the file to the Canvas, Layers list, or Timeline. Note: When importing large-scale images into Motion, you can import the files at their native resolution or at the resolution of the Motion Canvas. For more information, see Using High-Resolution Still Images. About Networked Disks and Removable Media Be careful when adding media files from a remote server to your project. Although the File Browser can access the contents of disks on other computers on your network, dragging remote media to your project does not copy the source file to your computer. The media source file remains on the remote disk. As a result, when that remote disk becomes unavailable, the corresponding item in your project goes offline. Further, depending on the speed of your network, you may experience performance issues when using media files on other computers. Ideally, copy all media files used in your project onto a disk that’s physically connected to your computer. If you must use media from a networked hard disk, ensure that the drive is always mounted on your system and that you have a high-performance network. This is especially true for media from removable devices, such as flash drives, DVD, and removable hard disks that are frequently disconnected from your computer. Always copy media files from such media to your local hard disk. Organizing Groups and Layers in Motion When you drag a media file from the Library or File Browser into the Canvas, Layers list, or Timeline, or generate an image from within Motion, the resulting element is represented as a layer. Think of layers as a series of clear overlays stacked on top of each other. These layers combine to create the composite you see in the Canvas. Motion provides a graphical representation of this layer hierarchy in the Layers list and in the Timeline. You can rearrange the stacking order of layers in your composition by dragging them to a new location in either list. Chapter 6 Creating and Managing Projects 231 Layers, in turn, are nested in containers known as groups. When you create a layer, that layer is placed inside a group. You can drag a layer from one group to another, but layers cannot exist on their own, outside a group. Layers nested inside groups appear indented in the Layers list and Timeline. Enclosing group Nested layers A group can also contain other groups nested inside it. In this way, you can construct complex hierarchies of nested groups, with each nested group subordinate to the group that contains it. Enclosing group Nested groups It’s a good idea to group layers that work together as a unit. Doing so ensures that animation and effects applied to the enclosing group affect all layers nested in that group. By nesting related layers you want to animate inside a group, you can save time by animating the enclosing group, instead of animating each layer. 232 Chapter 6 Creating and Managing Projects For example, when you select a group that has three layers nested in it, the entire group is selected as a single unit. Moving a selection in the Canvas moves all three layers simultaneously. Before moving group After moving group Regardless of how they’re nested, layers can always be animated independently. Subordinate groups can also be animated independently. Chapter 6 Creating and Managing Projects 233 In the following example, a filter is applied to a layer in a group containing three fish layers. All other layers in the group remain unaffected. However, If you apply the same filter to the group, all layers in that group are affected by the filter, as if they were a single layer. 234 Chapter 6 Creating and Managing Projects Many filters produce different results when applied to a group, rather than individual layers in a group, as shown in the images below. Filter applied to group Filter applied to each layer in group Background of a Project Two parameters in a project’s Properties Inspector affect the background color of a project and how a composition appears when exported out of Motion. (To open a project’s Properties Inspector, choose Edit > Project Properties). Background Color: Use this color well to set the color appearing in the Canvas when no other object obscures the background. Note: To export a project with a premultiplied alpha channel, Motion always renders against black. Background: Use this pop-up menu to set whether the background color is rendered as part of the alpha channel. If set to Solid, the background color creates a solid alpha channel. If set to Transparent, the background color does not render as part of the alpha channel. In either case, the background color is visible in the Canvas. Selecting Layers and Groups in the Layers List To reorganize layers and groups in a project, you must select which ones to move. This section covers the methods to select layers in the Layers list. To select one layer or group µ Click a layer or group in the Layers list. Doing so deselects all other selected objects. Note: Selecting a group does not also select the layers nested underneath it. However, operations performed on a selected group also affect layers nested in it. To select multiple contiguous layers or groups Do one of the following: µ Shift-click any two layers in the Layers list. Doing so selects both layers, and all layers in between. Chapter 6 Creating and Managing Projects 235 µ Click to the left of the thumbnail column and drag up or down to select multiple layers. (This method works only when you begin dragging above the first or below the last object.) To select or deselect multiple noncontiguous layers or groups Do one of the following: µ Command-click any unselected layer or group to add it to the selection. µ Command-click any selected layer or group to deselect it. To select all layers or groups in the Layers list Do one of the following: µ Choose Edit > Select All (or press Command-A). µ Click the first group or layer in the list, then Shift-click the last group or layer in the list. To deselect all objects or groups in the Layers list µ Choose Edit > Deselect All (or press Command-Shift-A). Reorganizing in the Layers List The order in which layers and groups appear in the Layers list helps determine the layout of the composition. The order of layers and groups determines which objects appear in front of other objects in the Canvas. You can change the ordering of objects in the Canvas or in the Layers list. Note: When using 3D groups, you can rearrange the order in 3D space to override the hierarchy visible in the Layers list. For more information about layer order in 3D groups, see 2D and 3D Group Interaction. To move a layer or group up or down in the Layers list µ Drag a layer or group up or down in the Layers list. A position indicator shows the new position the selection occupies when you release the mouse button. Note: You can also use the Bring and Send commands in the Object menu to move layers up and down in the nested hierarchy in any group. This is especially useful when working with selected objects in the Canvas. For more information, see Arrangement Commands in the Object Menu. To organize the objects in a project into multiple groups, you can create new, empty groups. To create a new, empty group Do one of the following: µ Click the Add button (+) at the bottom of the Layers list. µ Choose Object > New Group (or press Command-Shift-N). 236 Chapter 6 Creating and Managing Projects New groups appear at the top of the Layers list, and are numbered incrementally based on the number of groups you’ve created so far. When you have more than one group, you can move layers back and forth between them, changing their nested relationship in your project. To move a layer from one group to another 1 Select one or more layers. 2 Do one of the following: • Drag the selected layers to a position underneath another group. A position indicator appears to show where the layer is placed when you release the mouse button. • Choose Edit > Cut (or press Command-X), then select the group to paste into, and choose Edit > Paste (or press Command-V). You can also copy a layer from one group to another. To copy a layer from one group to another Do one of the following: µ Option-drag selected layers from one group to another. µ Select layers, choose Edit > Copy (or press Command-C), then select the group to paste into, and choose Edit > Paste (or press Command-V). Nesting Groups Inside Other Groups In addition to nesting layers inside groups, you can also nest groups inside other groups. You might do this if you’re creating a layer hierarchy to control the relationship of one group of layers to another, or if you’re grouping layers to which you want to apply a single set of behaviors and filters. Nesting a group works the same way as nesting a layer. To move a group inside another group 1 Select one or more groups. 2 Do one of the following: • Drag the groups onto another group. • Drag the groups to a position underneath another group. • Choose Edit > Cut (or press Command-X) to cut the groups, then select the group where you want to paste, and choose Edit > Paste (or press Command-V). Chapter 6 Creating and Managing Projects 237 Grouping and Ungrouping Layers You can also nest layers together in a group using the Group command. You can group layers that appear in the same group, or you can group groups that are nested at the same level relative to the hierarchy of your project. You cannot group groups that appear at different levels. To group selected layers together, nesting them in a group 1 Select all layers or groups you want to group together. 2 Choose Object > Group (or press Command-Shift-G). A new group is created and is numbered incrementally based on the number of groups you’ve created so far. The layers or groups you selected are nested in the group. Groups of nested layers or groups can also be ungrouped, which deletes the containing group and moves objects and layers in it up the group hierarchy. To ungroup nested layers 1 Select the group containing the nested layers or groups to ungroup. 2 Choose Object > Ungroup (or press Command-Option-G). Note: You cannot ungroup groups that are at the root (project level) of the Layers list hierarchy. Showing and Hiding Groups and Layers Layers and groups appearing in the Layers list can be hidden to make them invisible in the Canvas without removing them from your composition. For example, if you place a large object into your project and it’s in the way of objects you want to move or rotate in the Canvas, you can hide the offending object. You can also hide objects you’re not sure you want to keep, while preserving their placement in case you want to use them later. If you hide a group, you also hide all layers and groups nested in it. Hidden layers and groups are not rendered when your project is exported. 238 Chapter 6 Creating and Managing Projects To show or hide selected layers Do one of the following: µ Click the checkbox to the left of an object or group in the Layers list or Timeline. Activation checkboxes µ Choose Object > Active (or press Control-T) to turn the layers on or off. µ Control-click a layer or group, then choose Active from the shortcut menu. Note: If you hide layers in a group, the enclosing group’s checkbox displays a dash instead of a checkmark, to indicate that some layers are not visible. You can “solo” a layer or group to hide all other layers in the project. This technique can be useful to isolate a single object in the Canvas to animate or manipulate without interfering with other objects in your composition. To solo a layer µ Select layers or groups to solo. µ Choose Object > Solo (or press Control-S). Note: You can also Control-click an object in the Layers list, then choose Solo from the shortcut menu. All other layers or groups are deactivated, and only the soloed object is visible in the Canvas. When the selected item is soloed, the solo menu item displays a checkmark. Fixing the Size of a Group By default, the size of a group is determined by the layers in that group. Because animated objects often grow in size, the active height and width of a group (its resolution) can become large. You can constrain the resolution of a group to a specific width and height in the Group pane of the Inspector. Chapter 6 Creating and Managing Projects 239 The project in the following image contains a particle system. The animated particles, although not visible when they move off the Canvas, make the group containing them large. Boundary is limited to height and width set in Group inspector Boundary of particle system Group with Fixed Resolution disabled Group with Fixed Resolution enabled You can crop the size of a group that contains growing objects using the Fixed Resolution checkbox in the Group pane of the Inspector. If a project contains animated objects that move or expand beyond the edges of the Canvas and you don’t activate the Fixed Resolution checkbox, your computer processing time can increase. Note: The Group pane of the Inspector (which contains the Fixed Resolution parameter) is only accessible when a group is selected in the project. When the Fixed Resolution checkbox is selected, objects in the group but outside the Canvas are cropped to the size of the group defined in the parameter. 240 Chapter 6 Creating and Managing Projects When enabled, the Fixed Resolution parameter crops the group to the size specified in the Fixed Width and Fixed Height parameters. This means that if the group’s anchor point is offset, the cropping might not occur around the edges of the Canvas, and objects can become cut off. Selected group with Fixed Resolution enabled, and set to project size. Notice that text objects are cut off. Selected group with an offset anchor point before Fixed Resolution setting is enabled. Anchor point Anchor point To fix the resolution of a group 1 In the Layers list (or the Timeline), select the group. 2 In the Inspector, click the Group pane. 3 Turn on the Fixed Resolution checkbox. By default, the group’s resolution is set to the project size. An indicator appears to the right of Fixed Resolution, informing you that the group is rasterized. For more information on rasterization, see About Rasterization. 4 To define a resolution other than that of the project, adjust the Fixed Width and Fixed Height sliders. Note: When you select a layer in a fixed-resolution group, the bounding box around the layer appears at its original size, unaffected by the containing group’s resolution. Chapter 6 Creating and Managing Projects 241 Locking Groups and Layers When you finish making adjustments to a layer or group, you can lock it to prevent accidental modification. Locked layers cannot be moved, and their parameters cannot be altered or animated. Animation and behaviors applied to the layer before being locked still play. Locking a group also locks all layers and groups nested in it. Note: You cannot lock objects that contain published parameters (for use in Final Cut Pro X). Such objects display a dimmed lock control. For more information about publishing parameters, see Publishing Parameters in Templates. To lock layers or groups Do one of the following: µ Click the layer’s lock icon in the Layers list. Lock icon White outline indicates locked layer µ Select layers or groups, then choose Object > Lock (or press Control-L). The locked layer’s bounding box in the Canvas turns white to indicate it is locked. Collapsing and Uncollapsing Group Hierarchies Groups and layers in the Layers list appear in a hierarchy that shows which layers are nested inside which groups. Nested layers and groups appear underneath and indented to the right of the group they’re nested in. To make the Layers list easier to manage, you can collapse all layers that appear nested in a single group using that group’s disclosure triangle. Collapsed groups appear as a single row in the list, and can be moved or nested like any other layer. Each group’s thumbnail displays a preview of its composite, making it easy to see what’s nested inside. To open or collapse a single group Do one of the following: µ Click the disclosure triangle to the left of that group’s name and icon. µ Press the Up Arrow and Down Arrow keys to navigate up and down the Layers list, then press the Right Arrow key to open a group, or the Left Arrow key to collapse a group. 242 Chapter 6 Creating and Managing Projects Renaming Groups You can rename the groups and layers that appear in the Layers list to further organize your project and make each group’s and object’s purpose easier to identify. When you rename a layer, the original name of the source media file on disk remains unchanged. Also, changing a layer’s name in the Layers list does not change the name of its corresponding source media in the Media list. You cannot change the name of source media in the Media list. To rename a group or layer 1 In the Layers list, double-click the name of a group or layer. 2 When the name is highlighted, enter a new name. 3 When finished, press Return to accept the name. The new name is also accepted when you click another layer or group. Searching for Groups and Layers If it’s difficult to find a single group or layer in a large project, you can use the Search field at the bottom of the Layers, Media, and Audio lists. It is similar to the Search field in the File Browser, and allows you to search for all layers or groups with a name containing the search term you enter. To find a group or layer by name in the Layers list 1 At the bottom of the Layers list, Media list, or Audio list, click the Search button. The Search field appears. Click Search button to activate the search field. Search field 2 Enter a search term in the Search field. As soon as you begin typing, all groups and layers with names that don’t contain the search term are hidden from view, leaving only a list of groups and layers that match. To clear the search results µ Click the Clear button at the far right of the Search field to restore the full contents of the Layers list, Media list, or Audio list. Click to clear search field. Chapter 6 Creating and Managing Projects 243 Note: Groups and layers hidden as the result of a search operation are not disabled in the Canvas, and they are not prevented from rendering during export. In addition to searching for layers by name, you can find an object’s source media in the Media list using the Reveal Source Media command. Sorting Objects in the Media list The Media list contains the following columns that provide information about each object in your project. Column Description Preview Displays a thumbnail of the media object. Lists the filename of the source media on disk where the object is linked. If you change the name of corresponding linked objects in the Layers list, this name doesn’t change. Name Lists the type of file, whether it’s a still image, QuickTime movie, image sequence, or audio file. Kind In Use Indicates that the media is in use in the project. Displays the total duration of the object, in frames or timecode, depending on what is displayed in the Timeline. Duration Frame Size Displays the frame size of the object, in pixels. For QuickTime movies, displays the codec used. For still images, displays the method of compression that’s applied based on the file type. Format Depth Specifies the color depth of the image. Vid Rate Displays the video frame rate of the object, in frames per second. For audio files and QuickTime movies, displays the sample rate of the audio. Audio Rate For audio files and QuickTime movies, specifies the bit depth of the audio. Audio Bit Depth File Size Shows the size of the source media file on disk. File Created Shows the file creation date of the source media file on disk. Shows the file modification date of the source media file on disk. This is a useful parameter to use for file management. File Modified To move a column to the right or left in the Media list µ Drag a column header to the right or left to move it. To increase or decrease the size of each item’s thumbnail in the Media list Do one of the following: µ Use the scale control at the bottom of the Media list. µ Drag the separator between the rows of items. 244 Chapter 6 Creating and Managing Projects Customizing and Creating Templates Motion comes with a collection of templates you can customize. You can also create templates. To learn about creating Templates for use in Final Cut Pro X, see Creating Templates for Final Cut Pro X. Customizing Projects Created with Templates When you open a new project file from a template, the project is a duplicate of the original template. There’s nothing special about template-based projects, and they can be edited and modified like any other project. Most templates, especially those you create yourself, are intended to simplify the process of creating titles and graphics for recurring projects. Examples include titles and lower thirds for news and interview programs, graphics for magazine shows, and any repeating program that requires graphics with a consistent look that must be updated from show to show. Well-designed templates allow you to exchange key objects and edit the text to update them for the next show in the series. Changes you make to projects created from templates have no effect on the original templates. Exchanging Media The easiest way to customize a template-based project is to exchange the media used in the template with your own media, from the File Browser or the Library. When you exchange media, the new media item appears in your project with the same parameter values used by the previous object. In addition, filters, masks, behaviors, or keyframed parameters applied to the original media remain applied to the exchanged media. For more information about exchanging objects, see Exchanging Media in a Project. Customizing Text Objects Text objects are easily updated using the Text tool. Editing a text object does nothing to change the format, style, or layout of the text. Further, simple edits made to text objects have no effect on filters, masks, behaviors, or keyframed parameters applied to that object. For more information on editing text objects, see Adding Text. Modifying Behaviors and Keyframes Objects in template-based projects are animated using a combination of behaviors and keyframed parameters. These can be edited to customize the motion of the objects. For more information on modifying behaviors, see Working with Behaviors. For more information on modifying keyframes, see Modifying Keyframes. Chapter 6 Creating and Managing Projects 245 Using Objects, Behaviors, and Keyframes from Templates Occasionally, you might want to use a keyframed parameter or behavior from a template in a project of your own. You can create a template-based project, select the keyframes or behaviors you want to use, copy them, and paste them into your own project. All graphics objects used by the templates appear in the Content category of the Library, in the Template Media subcategory. If there’s a graphic you want to use, you can find it in the Library. Drop Zones Drop zones let you replace footage in a Motion template by dragging clips onto the Canvas. A drop zone layer appears as a rectangle with a downward arrow in its center. The drop zone’s layer name appears in the center of the drop zone. Any media item (image or footage) dragged into the region defined by the drop zone object replaces the drop zone placeholder graphic. When you drag media over the drop zone, a highlight appears around the drop zone area. Blank drop zone QuickTime movie being dragged onto drop zone Note: If there are multiple overlapping drop zones in the Canvas, the topmost one has priority when you drag an item over the zone. You can force all drop zones to appear by using the expose feature. For more information, see Exposing Drop Zones. Adding a drop zone to a Final Cut Pro X template in Motion enables Final Cut Pro users to easily assign media to an editing project. For more information about creating templates for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. Creating Drop Zones You create drop zones in either of two ways: by adding an empty drop zone object or by converting an existing layer into a drop zone. Any still image or video clip can be converted into a drop zone via the Image Inspector. To add an empty drop zone 1 Choose Object > New Drop Zone or press Command-Shift-D. 246 Chapter 6 Creating and Managing Projects A drop zone layer is added to the project. 2 Position and scale the drop zone object. 3 If needed, rename the drop zone layer in the Layers list. 4 Open the Inspector and click Image to access the drop zone parameters. For more information about using these parameters, see Drop Zone Parameters. To scale a drop zone µ Select the drop zone object, then resize the drop zone in the Canvas using the Select/Transform tool. To convert an image layer to a drop zone 1 Add a video clip or still image to your project. 2 Position and scale the image or clip where you want the drop zone to appear. 3 Open the Image Inspector and click the Drop Zone checkbox. The drop zone parameters appear. 4 To replace the original image with a drop zone graphic, click the Clear button. An active drop zone replaces the original image. For more information about using remaining Drop Zone parameters, see Drop Zone Parameters. Modifying Drop Zone Images After you add a source image to the drop zone, you can pan or scale the image within the boundary of the drop zone. You can add a solid color to the drop zone to fill empty areas that are the byproduct of panning or resizing the image. To add an image to a drop zone Do one of the following: µ Drag an image from the File Browser or Library to the Drop Zone in the Layers list. When the pointer changes to a curved arrow, release the mouse button. µ Drag an image from the File Browser, Library, or Media list (in the Project pane) to the Drop Zone in the Canvas. When the pointer changes to a curved arrow and the drop zone is highlighted in yellow in the Canvas, release the mouse button. µ Drag an image from the Media list to the Source Media well in the Image Inspector. µ In the Image Inspector, click To and select a media item in the project from the pop-up menu. To scale a drop zone image in the Canvas 1 Select the drop zone. Chapter 6 Creating and Managing Projects 247 2 Do one of the following: • In the Canvas, double-click the drop zone. The Adjust Item tool is selected. • In the toolbar, select the Adjust Item tool. The drop zone bounding box appears as a dotted line. 3 Drag the scale handles in the Canvas to resize the image. The image’s bounding box appears as a solid line and scales uniformly. Portions of the image that extend beyond the edges of the drop zone appear semitransparent. To scale a drop zone image in the Inspector 1 Select the drop zone. 2 In the Image Inspector, drag the Scale slider. To adjust the horizontal or vertical scale independently, click the Scale disclosure triangle to reveal the X and Y subparameters. To pan a drop zone image in the Canvas 1 Select the drop zone. 2 In the toolbar, select the Adjust Item tool. The drop zone bounding box appears as a dotted line. 3 The Pan tool appears when the pointer is over the drop zone image. Drag within the drop zone to pan the image. The image’s bounding box appears as a solid line. The dotted line represents the edges of the drop zone. Portions of the image that extend beyond the edges of the drop zone appear semitransparent. 248 Chapter 6 Creating and Managing Projects To pan a drop zone image via the Inspector 1 Select the drop zone. 2 In the Image Inspector, adjust the Pan parameter X and Y value sliders. Click the Pan disclosure triangle to reveal individual X and Y sliders. To assign a background color to a drop zone 1 Select the drop zone. 2 In the Image Inspector, select the Fill Opaque checkbox. Any empty portion of the drop zone is filled with black. 3 Use the Fill Color well to choose a custom drop zone fill color. Drop Zone Parameters You can add any media object to any drop zone, but the object might not have the same dimensions as the drop zone. Motion provides controls to help ensure the image placed in the drop zone is handled as you want, scaling, stretching, and positioning the object correctly. The Image Inspector contains the following drop zone controls: Drop Zone: When an image is selected, select this checkbox in the Image Inspector to convert an image layer into a drop zone. Note: Drop zones in Final Cut Pro templates do not have a Drop Zone checkbox. Source Media: Use this image well to assign an image to the drop zone. Drag a media item from the Layers list, Media list, File Browser, or Library. To: Use this pop-up menu an alternative method of assigning an image to the drop zone. The menu contains a list of media items in your project. Select an item to assign it to the drop zone. Pan: Pans the image within the drop zone. Adjust the X value slider to move the image horizontally and the Y value slider to move the image vertically. Scale: Scales the image in the drop zone. Use the Scale slider to resize the image uniformly. To resize the image horizontally or vertically, click the Scale disclosure triangle and adjust the X or Y parameter. Fill Opaque: When the drop zone is scaled down or panned, fills the drop zone background with the color set in the Fill Color well. If the Fill Opaque checkbox is not selected, the empty drop zone area is transparent. Fill Color: When the Fill Opaque checkbox is selected (and the image is scaled or panned), sets the drop zone background color. Use Display Aspect Ratio: Select this checkbox to resize media placed in the drop zone according to the project’s aspect ratio. For more information about display aspect ratios, see Adding Multiple Display Aspect Ratios to a Template . Chapter 6 Creating and Managing Projects 249 Clear: Use this button to clear the image from the drop zone, replacing it with a downward-arrow graphic. Controlling Drop Zones When constructing your template, you can disable drop zones so you don’t accidentally drop a clip. Later, when using the template, you can turn drop zones back on. To turn drop zones on and off µ Choose View > Use Drop Zones A checkmark appears next to the menu item when drop zones are enabled (which means they accept objects dragged to them). When no checkmark appears next to the menu item, drop zones are disabled (which means they ignore objects dragged to them). Exposing Drop Zones Use the expose feature in Motion to reveal obscured drop zones in the Canvas. The expose command shows an exploded view of valid drop zones in the Canvas. To expose all drop zones in a project 1 Use the Library or File Browser to locate an item to import into the project. 2 While holding down the Command key, drag the item onto the Canvas. Objects in the Canvas shrink and separate in an exploded view so you can see them all. Moving the pointer over an object reveals its Layers list name. Note: You cannot Command-drag nonimage objects (shapes, Motion projects, particles, etc.) to the Canvas. 3 Drop the object onto its target. 250 Chapter 6 Creating and Managing Projects The object replaces its target, and the Canvas view returns to normal. Creating Templates In addition to using and customizing templates that ship with Motion, you can build new templates. Template files contain everything that ordinary projects do, including media layers, text objects, shapes, generators, behaviors, and filters, in any combination. You can create custom templates for commonly used shots that you regularly create. For example, if you make titles for a news program, you can create templates for the opening title, interstitial graphics, bumpers, and other repetitious shots. Templates are standard Motion projects that are saved in a special way. To save a Motion project as a template 1 Choose File > Publish Template. A save dialog appears. 2 Enter a name for the template and choose a category from the Category pop-up menu. The template is organized in the Project Browser under the category you assign. Create a custom category by choosing New Category from the menu. 3 Choose New Theme from the Theme pop-up menu, enter a descriptive name in the New Theme dialog, then click Create. 4 If you want the template project to retain media in the Media list that isn’t present in the composition, select “Include unused media.” 5 If you want a preview of the template to appear in the Project Browser, select Save Preview Movie. Note: If you want to add the template to a Final Cut Pro project, select the “Publish as Final Cut Generator” checkbox. For more information, see Creating Templates for Final Cut Pro X. 6 Click Publish. The template is saved in the /Users/username/Movies/Motion Templates/Compositions folder on your computer. Note: If you selected the “Publish as Final Cut Generator” checkbox, the template is saved in the /Users/username/Movies/Motion Templates/Generators. For more information, see Creating Templates for Final Cut Pro X. Chapter 6 Creating and Managing Projects 251 Template Rules of Thumb When designing templates, there are a few useful rules of thumb: • Use descriptive group and layer names: Group and layer names in a template should describe each object’s function. For example, text objects in a titling template might be named “Main Title,” “Starring,” “Guest Star,” and so on. If you use visual elements in the template’s composition, their layer names should describe their function: “Background Texture,” “Divider,” and “Main Title Background,” for example. Descriptive layer names are especially important if others use the template. • Use snapshots to create alternate versions of a template for each resolution you need: If you regularly create projects for a variety of output formats, you can build alternate versions of a template in different display aspect ratios—all within a single template. For example, when you create a template with a 16:9 aspect ratio, you can add an alternate version customized for 4:3 displays. When the template is applied to a clip in Final Cut Pro, the editing application chooses the version that matches its current display aspect ratio. These alternate display versions of a single template are called snapshots. Snapshots eliminate the need to create multiple versions of the same template for different display ratios. For more information about snapshots, see Adding Multiple Display Aspect Ratios to a Template . • Place all media files used in a template in a central folder: To avoid problems with offline or missing media, move all media files for the template into a central folder on your computer before you begin the working on the project. Although customized templates are saved in the /Users/username/Movies folder on your computer, media added to the template remains in its original location on disk. A central location for all media resources ensures that files are not lost. Alternatively, you can use the File > Save As command, and use the Collect Media option. For more information, see Collecting Media. Organizing Templates in the Project Browser You can organize and access custom templates in the Project Browser. All templates are organized into categories. You can add, delete, and rename categories in the Project Browser. To add a category in the Project Browser 1 Choose File > New From Project Browser The Project Browser appears. 2 Select a template type (Compositions, Final Cut Effects, Final Cut Generators, Final Cut Transitions, Final Cut Titles) from the sidebar (on the left). 3 Click the Add button (+) at the bottom of the sidebar. 4 Enter a name for the category in the dialog that appears. 5 Click Create. 252 Chapter 6 Creating and Managing Projects The new category appears in the column at the left under the template type you selected. To delete a category in the Project Browser 1 Choose File > New From Project Browser. The Project Browser appears. 2 Select a category in the sidebar. 3 Press Delete or click the Delete button (–). An alert dialog prompts you to confirm the deletion. The directory on your disk corresponding to that category is placed in the Trash, but is not deleted. Template files in that category’s directory are also placed in the Trash. To delete individual templates from the Project Browser 1 Choose File > New From Project Browser. The Project Browser appears. 2 Select a category from the sidebar. 3 In the project stack, select the template to delete. 4 Press Delete. An alert dialog prompts you to confirm the deletion. 5 Click the Delete button. Chapter 6 Creating and Managing Projects 253 Compositing is the process of combining at least two images to produce an integrated final result. The process can be as simple as placing text over an image, or as complex as combining live actors with drooling space aliens who shoot laser beams from their eyes. Motion graphics artists use various compositing techniques to create animated visual effects, including changing group and layer order, transforming the physical properties of layers (such as scale), adjusting layer opacity and blend mode settings, applying filters to layers, and creating text and shapes. Motion graphics projects often combine layout and design techniques with special effects such as keying, masking, color correction, and creation of particle systems. This chapter covers the following: • Compositing Workflow (p. 255) • Group and Layer Order (p. 257) • Transforming Layers (p. 259) • 2D Transform Tools (p. 263) • Adjusting Layer Properties in the Inspector (p. 280) • Making Clone Layers (p. 285) • Editing Opacity and Blending Parameters (p. 286) • Drop Shadows (p. 309) • Retiming (p. 311) • Expose Commands (p. 315) Compositing Workflow After you import the layers you need for your project, the first step in the compositing workflow is to arrange the layers in the Canvas to rough out the general design of your piece. Before you animate anything, you should decide on a layout, taking into account the size, placement, and rotation of the layers in your composition. 255 Basic Compositing 7 Use the Motion editing tools to perform basic layout tasks: selecting, moving, rotating, scaling, distorting, cropping, changing a layer’s anchor point, and manipulating drop shadows. These editing tools are available on the left side of the toolbar. When you choose an editing tool, specific onscreen controls become available in the Canvas; drag these controls to perform the selected action. Drag a corner handle to resize the object. Additional controls in the HUD let you change each selected layer’s opacity, blend mode, and drop shadow settings. The onscreen controls and the HUD controls correspond to parameters that appear in the Properties Inspector. Adjustments made in the Canvas are simultaneously updated in the Inspector and HUD, and vice versa. For example, if you’re using the Select/Transform tool and you change a layer’s scale by dragging its corner handles in the Canvas, the layer’s Scale parameter is updated in the Properties Inspector. 256 Chapter 7 Basic Compositing When you begin to lay out a composition, it’s a good idea to start by creating a static layout of your project that represents how it looks at the beginning, end, or at a particular moment in time. In addition to manipulating the geometry of layers in your project, you can also alter their opacity to adjust how overlapping elements of your layout merge together. Blend modes provide further control over the appearance of overlapping layers, accentuating or stylizing the colors of the topmost layers based on the colors of underlying layers. After you create an initial layout, you can animate the layers you’ve added to set your project in Motion. For more information about animating layers and their properties, see Keyframing in Motion. Group and Layer Order In the Motion interface, every project is visually represented by a Project object at the top of the Layers list. Beneath the Project object are the groups, image layers, and effects objects that make up your project. Except for cameras, lights, and rigs, all layers and objects in the Layers list must live inside a group. In a purely 2D project, the order in which layers and groups appear in the Layers list (known as the layer order) determines which image layers appear in front of others in the Canvas. Before you use the tools described in this chapter, you should arrange the layers and groups in your project so they appear in the proper order. For information about layer order, see Reorganizing in the Layers List. Objects and Layers In Motion, any element that appears stacked in the Layers list (and Timeline) can be referred to as an object. Objects encompass the entire range of images, effects, video clips, audio clips, lights, cameras, and other items that combine to form a finished composite. A layer is a special class of object defined as any image-based element—a movie clip, a still image, a shape, text, a particle system, a replicator, and so on—that is visible in the Canvas. Therefore, a rotating a triangle shape is a layer, but the behavior object that animates it is not; a sepia-tone video clip is a layer, but the Sepia filter that makes it so warmly old-timey is not. In the Motion documentation, the term object is often used to describe the superset of all manipulable elements that act upon and form a composition. Layer, however, always refers to the image-based elements acted upon. Arrangement Commands in the Object Menu As an alternative to rearranging layer order in the Layers list, you can change layer order using commands in the Object menu. The Object menu commands are useful when you want to move a layer to the front of your composition while you’re working in the Canvas. Chapter 7 Basic Compositing 257 The arrangement commands can be used with layers, objects, groups, or groups nested in another group. Reordering a group reorders all objects nested in that group. Note: You cannot use the Object menu reorder commands to move image layers out of the group they’re nested in. There are four arrangement commands in the Object menu: • Bring to Front: Places the selected layer in front of all other layers in the same group by moving the layer to the top of the nested group in the Layers list and Canvas. Before After Bring to Front command • Send to Back: Places the selected layer behind all other layers in the same group by moving the layer to the bottom of the nested group in the Layers list and Canvas. Before After Send to Back command • Bring Forward: Moves the selected layer up one level in the hierarchy of layers nested in the same group in the Layers list and Canvas, moving it closer to the front in the Canvas. • Send Backward: Moves the selected layer down one level in the hierarchy of layers nested in that group in the Layers list and Canvas, moving it closer to the back in the Canvas. 258 Chapter 7 Basic Compositing Reordering Nonconsecutive Selections When you apply the Bring Forward or Send Backward arrangement command to noncontiguous selected layers (Command-click to select noncontiguous layers), the layers move up or down the object hierarchy together, and any space between the layers remains. Nonconsecutive layers selected Bring Forward command applied When you apply the Bring to Front or Send to Back arrangement command on noncontiguous selected layers, the layers move up or down the object hierarchy together, and any space between the layers is removed. Transforming Layers Transforms are operations that you perform on layers—such as moving, resizing, or rotating. Layer transforms can be performed using onscreen controls (transform handles), or by changing the layer’s parameters in the Properties Inspector. In general, the controls in the Canvas give you a more hands-on method of working, while the parameter controls in the Properties Inspector are better suited for subtle adjustments requiring greater numerical precision. For more information about each transform’s corresponding parameter and its numerical values, see Adjusting Layer Properties in the Inspector. Important: Applying a mask or some filters to a group can cause rasterization. Rasterization converts a group into a bitmap image, which affects blend modes and interactions with other layers in a project. For more information on rasterization, see About Rasterization. Selecting Layers to Transform Before you can transform layers and groups, you must make a selection in the Canvas, Layers list, or Timeline. Selecting a group or layer in one place also selects it in the others. Chapter 7 Basic Compositing 259 When a layer is selected in the Canvas, it is surrounded by a bounding box with transform handles corresponding to the selected transform mode. These handles allow you to transform each selected layer. To select a single layer in the Canvas µ Click any layer in the Canvas. To select multiple layers in the Canvas, or to add layers to a selection Do one of the following: µ Drag a selection box over the layers to select. µ Holding down the Shift key, click the layers to select them. µ To add layers to a selection, hold down the Shift key and drag a selection box over layers to add to the selection. To deselect one of multiple selected layers in the Canvas Do one of the following: µ Shift-click a layer to deselect. All other selected layers remain selected. µ Holding down the Shift or Command key, drag a selection box over the layers to deselect. To select all layers in the Canvas Do one of the following: µ Choose Edit > Select All. µ Press Command-A. To deselect all layers in the Canvas Do one of the following: µ Choose Edit > Deselect All. µ Press Command-Shift-A. 260 Chapter 7 Basic Compositing From time to time, a layer might be hidden behind another layer in the Canvas. The best way to select a hidden layer is to select it in the Layers list or Timeline. When you do so, the layer’s bounding box and transform handles appear in the Canvas, even if the layer is completely obscured. Note: When you select an inactive layer (a layer whose activation checkbox is deselected in the Layers list), only the layer’s bounding box appears in the Canvas—the layer itself is not visible. For more information on how to select objects and groups in the Layers list, see Selecting Layers and Groups in the Layers List. Rules for Transforming Selected Layers and Groups The way you transform selected layers depends on how many layers are selected. Chapter 7 Basic Compositing 261 Transforming a Single Layer If you select a single layer, the changes you make affect only that layer. All unselected layers remain untouched. For example, if you select a single layer, transform handles appear around that one layer. Before After scaling Transforming Multiple Layers If you select multiple layers in the Canvas, changes made to one layer are simultaneously made to all others. Each transform occurs around each layer’s own anchor point, so the effect is the same as if you applied the transform to each layer’s handles, one at a time. Before After scaling 262 Chapter 7 Basic Compositing Transforming a Group If you select an entire group, all layers and groups nested in it are treated as a single layer. One set of transform handles appears on a bounding box that encompasses every layer in that group. All layer transforms occur around a single anchor point belonging to the group. Before After scaling If you select a layer and its parent group, the following occurs: • The scale handles of the parent group remain available, and the scale handles of the individual layers within the group are dimmed. Dragging the group’s scale handles scales the group, not its nested objects. • The rotation handles of the individual layers remain available. Dragging an object’s rotation handle rotates that object. 2D Transform Tools Before you transform a layer in the Canvas, make sure the pointer is set to the correct tool. These tools can be selected from the toolbar. Selecting a 2D transform tool in the toolbar activates a corresponding onscreen control in the Canvas; you modify layers by manipulating the active onscreen control. Chapter 7 Basic Compositing 263 There are eight 2D transform tools, available in a pop-up menu on the left side of the toolbar: • Select/Transform: Scales, rotates, and repositions selected layers. • Anchor Point: Offsets the anchor point used for all layer transforms. • Drop Shadow: Manipulates layer drop shadows in the Canvas. • Distort: Stretches a layer into polygonal shapes. • Crop: Cuts off pixels from any of the layer’s four edges. • Edit Points: Manipulates control points on shapes, paths, and curves. • Transform Glyph: Transforms individual letters in a text layer. The Transform Glyph tool is also a 3D tool, using the same transform controls as the 3D Transform tool. • Adjust Item: Moves onscreen controls such as gradients, center points of filters, emitter attributes, and so on. Note: Some of the tools are activated when specific layers are selected. For example, the Edit Points tool is selected after you create a shape or mask layer, so you can immediately adjust the Bezier or B-Spline control points. To switch among tools Do one of the following: µ Click the Select/Transform tool in the toolbar, then, while holding down the mouse button, choose a tool from the pop-up menu. µ With a layer in the Canvas selected, press Tab. Pressing Tab repeatedly cycles through the tools in order. Note: When pressing Tab, the 3D Transform tool is activated between the 2D Select/Transform tool and the Anchor Point tool. For more information about 3D transform tools, see 3D Transform Tools. 264 Chapter 7 Basic Compositing µ Control-click any layer in the Canvas, then choose a tool from the shortcut menu. The options in the shortcut menu vary depending on the type of layer selected. For example, a shape contains shape-specific options such as Stroke, Edit Gradient, and Edit Points. Those options do not apply to an image. Note: Press Shift-Tab to cycle through the tools in reverse. Moving Layers in the Canvas The simplest thing you can do to start arranging the layers in your project is to move them around. Except for the Drop Shadow tool, all transform tools let you reposition layers, so this is the one operation you can perform regardless of the selected tool. The easiest way to reposition a layer is to drag it in the Canvas. If you want to make more precise adjustments to a layer’s position, you can also change the numerical values of a layer’s X and Y Position parameters in the Properties Inspector. For more information on layer properties, see Parameters in the Properties Inspector. Pressing Shift while dragging constrains movement to the X or Y axis, even when working in a 3D group. You can move layers anywhere in the frame defined by the Canvas, but you can also drag layers past the edge of the frame. By default, when you move a layer past the edge of the frame, it becomes invisible, although you can still manipulate it using its bounding box. Note: The bounding box that indicates the position of layers located offscreen only appears when those layers are selected. You might need to move a layer past the edge of the frame when you plan on animating a layer flying onscreen. Before animating it, you need to move it to a position offscreen to achieve this effect. Note: To make a layer that is partially or totally outside the Canvas visible, choose Show Full View Area from the View pop-up menu (above the right side of the Canvas). Chapter 7 Basic Compositing 265 To move layers in the Canvas 1 Select layers. 2 Do one of the following: • Drag a layer to another location in the Canvas. If more than one layer is selected, dragging one layer moves them all. • Holding down the Command key, press the Right Arrow, Left Arrow, Up Arrow, or Down Arrow key to nudge the selected layers one pixel at a time. • Holding down the Command and Shift keys, press the Right Arrow, Left Arrow, Up Arrow, or Down Arrow key to nudge the selected layers ten pixels at a time. Tip: When repositioning very small layers, zoom into the Canvas to get a better view. For information on zooming in the Canvas, see Canvas Zoom Level. To move a layer in 3D space, you must select the 3D Transform tool or use the 3D onscreen controls. For more information on moving layers in 3D space, see 3D Transform Tools. Using Canvas Compositional Aids When arranging layers in the Canvas, take advantage of various compositional aids to help you. For example, if you are working on a piece for broadcast or film, turn on the safe zones in the Canvas to avoid putting layers past the title-safe or action-safe boundaries. A grid and rulers can also be enabled to provide a useful reference, and Dynamic Guides can be turned on to help you align layers with more precision. Furthermore, snapping can be turned on and off to help you position layers relative to the center and edges of the Canvas, with or without the other guides enabled. Note: Press Command while you manipulate a layer to temporarily disable snapping, allowing the layer to move freely. For more information about enabling various Canvas options to help you lay out your composition, see Canvas Rulers. To duplicate a layer Do one of the following: µ Select the layer to duplicate, then Option-drag the layer. µ Control-click the layer, then choose Duplicate from the shortcut menu. A duplicate is created in the Canvas. 266 Chapter 7 Basic Compositing Using Object Alignment Commands The Alignment submenu in the Object menu contains commands that let you reposition any number of simultaneously selected layers to align with one another in various ways. These commands make it easy to organize a jumble of layers into an even layout. Before After using alignment commands In each operation, the left, right, top, and bottom of the selected layers are defined by the bounding box that surrounds each layer. The position of the anchor point is ignored. Each of the following commands affects the Position parameter of each layer: • Align Left Edges: Layers are moved horizontally so their left edges line up with the leftmost layer in the selection. • Align Right Edges: Layers are moved horizontally so their right edges line up with the rightmost layer in the selection. • Align Top Edges: Layers are moved vertically so their tops line up with the topmost layer in the selection. • Align Bottom Edges: Layers are moved vertically so their bottoms line up with the bottommost layer in the selection. • Align Far Edges: Layers are moved in Z space so their far edges line up with the furthest layer in the selection. • Align Near Edges: Layers are moved in Z space so their near edges line up with the closest layer in the selection. • Align Horizontal Centers: Layers are moved horizontally so their centers line up along the center point between the leftmost and rightmost layers in the selection. • Align Vertical Centers: Layers are moved vertically so their centers line up along the center point between the topmost and bottommost layers in the selection. • Align Depth Centers: Layers are moved in Z space so their centers line up along the center point between the farthest and nearest layers in the selection. • Distribute Lefts: Layers are moved horizontally so the left sides of all layers are evenly distributed, from right to left, between the leftmost and rightmost layers in the selection. Chapter 7 Basic Compositing 267 • Distribute Rights: Layers are moved horizontally so the right sides of all layers are evenly distributed, from right to left, between the leftmost and rightmost layers in the selection. • Distribute Tops: Layers are moved vertically so the tops of all layers are evenly distributed, from top to bottom, between the topmost and bottommost layers in the selection. • Distribute Bottoms: Layers are moved vertically so the bottoms of all layers are evenly distributed, from top to bottom, between the topmost and bottommost layers in the selection. • Distribute Far: Layers are moved in Z space so the far edges of all layers are evenly distributed along the Z axis, from closest to furthest, between the closest and furthest layers in the selection. • Distribute Near: Layers are moved in Z space so the near edges of all layers are evenly distributed along the Z axis, from closest to furthest, between the closest and furthest layers in the selection. • Distribute Horizontal Centers: Layers are moved horizontally so the centers of all layers are evenly distributed, from left to right, between the leftmost and rightmost layers in the selection. • Distribute Vertical Centers: Layers are moved vertically so the centers of all layers are evenly distributed, from top to bottom, between the topmost and bottommost layers in the selection. • Distribute Depth Centers: Layers are moved in Z space so the centers of all layers are evenly distributed, from closest to furthest, between the closest and furthest layers in the selection. 268 Chapter 7 Basic Compositing Using the Select/Transform Tool The default tool is the Select/Transform tool, which activates onscreen controls that enable you to adjust a layer’s scale, position, and rotation. Scale handle Bounding box Anchor point Rotation handle Scaling When you select a layer, eight scale handles appear around the edge of the layer’s bounding box. Drag the handles to resize the layer. By default, the width and height of a layer are not locked together when you adjust scale handles. This means that the aspect ratio of a layer can be changed. (The aspect ratio of a layer is the ratio of its width to its height.) To preserve a layer’s aspect ratio, press Shift while dragging a scale handle. Changes made to the scale of a layer are applied to the Scale parameter in the Properties Inspector. Note: The onscreen Select/Transform controls for Motion-created shapes include a roundness handle in the upper-left corner of the bounding box; this control is not present in the Select/Transform controls for other layers. For more information, see Editing Shapes. To resize the height and width of a layer in the Canvas independently 1 Click to select the layer in the Canvas. Note: If you have another tool selected, such as a Mask or Shape tool, pressing the S key returns you to the 2D transform tools. A bounding box appears around the selected layer. Note: You can also Control-click the layer in the Canvas, then choose Transform from the shortcut menu. Chapter 7 Basic Compositing 269 2 Do one of the following: • Drag a corner handle to resize the layer’s width and height at the same time. By default, you can resize the width and height independently, by any amount. • Press Shift, then drag a corner handle to resize the layer while locking its width and height together, maintaining the layer’s current aspect ratio. 270 Chapter 7 Basic Compositing • Drag the top or bottom scale handle to limit scale changes to the layer’s height, or drag the left or right scale handle to limit scale changes to the layer’s width. • Press Option while dragging any scale handle to resize a layer around its anchor point, rather than unilaterally. As you drag the scale handles, the new width and height percentages appear in the status bar above the Canvas. Status area shows scaling amount Chapter 7 Basic Compositing 271 Note: Scaling the width or height of a layer by a negative value reverses the image, flipping its direction. Rotating The Select/Transform tool also activates a handle that allows you to rotate the image around its anchor point. For animation purposes, Motion keeps track of the number of times you’ve rotated the layer and stores this value in that layer’s Rotation parameter in the Properties Inspector. To rotate a layer in the Canvas 1 Click to select the layer in the Canvas. Note: The Select/Transform tool is the default mode when Motion opens. If the Select/Transform tool is not enabled, choose it from the 2D transform tools pop-up menu in the toolbar. 2 Do one of the following: • Drag the rotation handle to rotate the layer. • Press Shift while you drag the rotation handle to constrain the angle of the selected layer to 45-degree increments. As you drag the rotation handle, the original angle of the layer is indicated by a small circle that appears on a larger circle surrounding the layer’s anchor point. Additionally, the status bar shows you the new angle of rotation. Status bar shows rotation amount. 272 Chapter 7 Basic Compositing Using the Anchor Point Tool Using the Anchor Point tool, you can move any layer’s anchor point, changing the way different geometric transforms are performed. Layers rotate around the anchor point, but the anchor point also affects resizing operations. For example, the default anchor point for any layer is the center of the bounding box that defines its edges. If you rotate a layer, it spins around this central anchor point. Object rotated around center point Chapter 7 Basic Compositing 273 If you offset the anchor point, however, the layer no longer rotates around its own center, but instead rotates around the new anchor point. Object rotated around anchor point This not only affects the rotation of a layer, but any moving and scaling operations performed upon that layer as well. Changes made to a layer’s anchor point are stored in the Anchor Point parameter of the Properties Inspector. To change the anchor point of a layer in the Canvas 1 Choose the Anchor Point tool from the 2D tools pop-up menu in the toolbar. In the Canvas, the layer’s anchor point appears as a round target surrounded with three colored arrows representing the X, Y, and Z coordinate axes. For more information on coordinate axes, see 3D Transform Onscreen Controls. 2 Do one of the following: • Drag the white circle to move the anchor point vertically or horizontally. • Drag an arrow to move the anchor point along the corresponding axis. As you drag the anchor point, a line stretches from the default position of the anchor point to its new position. Additionally, the status bar shows you the anchor point’s new coordinates and the delta (amount of change) between the anchor point’s new and old positions. 274 Chapter 7 Basic Compositing Note: If the anchor point is close to the center or edges of the layer, and both Snapping and Dynamic Guides are turned on, the anchor point snaps to that location. Using the Drop Shadow Tool The Drop Shadow tool activates onscreen handles that can be used to change the blur, angle, and distance of a layer’s drop shadow. Default drop shadow (before adjusting with the Drop Shadow tool) After adjusting blur, angle, and distance To adjust the drop shadow of a layer in the Canvas 1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar. 2 In the Canvas, drag a corner handle to adjust the blur of the drop shadow. Drag in the shadow’s bounding box to adjust the distance and angle of the drop shadow. For more information on working with drop shadows, see Drop Shadows. Using the Distort Tool Using the Distort tool you can reposition a layer’s corner points independently, and slant or shear its midsection points horizontally or vertically. To distort a layer in the Canvas 1 Choose the Distort tool from the 2D tools pop-up menu in the toolbar. Chapter 7 Basic Compositing 275 2 In the Canvas, drag the four corner handles to stretch the layer into a shape. After you distort a layer, you can revert to the layer’s original shape by deselecting the layer’s Four Corner checkbox in the Properties Inspector. Doing so resets the shape of the layer without resetting the shape you defined in the Four Corner parameters of the Properties Inspector. Note: The Four Corner parameters can be used in combination with a tracking behavior to create a four-corner track on a foreground layer. For more information, see Option 2: Corner-Pin the Object Before Tracking. To shear a layer in the Canvas 1 Choose the Distort tool from the 2D tools pop-up menu in the toolbar. 276 Chapter 7 Basic Compositing 2 In the Canvas, drag a shear handle to slant the layer. The top and bottom handles angle the layer horizontally. The left and right handles angle the layer vertically. Note: Shearing a layer using the Distort tool does not affect the Shear parameter in the Properties Inspector. Instead, the Distort tool modifies the Four Corner parameters to simulate a Shear effect. You can still modify the Shear parameter, effectively shearing the shear simulation for interesting results. Using the Crop Tool The Crop tool activates onscreen cropping handles that you can drag to resize the borders of a layer. Chapter 7 Basic Compositing 277 Cropping allows you to chop off any of the four edges of a layer to eliminate parts you don’t want to see in your composition. Common examples of layers you’d want to crop are video clips with a black line or unwanted vignetting around the edges. You can use the crop operation to remove these undesirable artifacts. You might also crop a layer to isolate a single element of the image. Cropping in the Inspector Versus Cropping in the Media List When you crop an imported image using the Crop tool (which yields the same result as using the Crop controls in the layer’s Properties Inspector), only the instance of that file is cropped. The source image in the Media list is not cropped. To crop the source image, you must select the layer in the Media list, then use the Crop tools in the Media Inspector. For more information, see Media Inspector. Note: If you must isolate a more irregularly shaped layer, or you want to create a border of a specific shape, see Using Shapes, Masks, and Paint Strokes. To crop a layer in the Canvas 1 Choose the Crop tool from the 2D tools pop-up menu in the toolbar. 2 In the Canvas, drag any of the eight handles around the edge of the layer to crop the sides: • Drag the top, left, right, or bottom handle to only crop one edge. • Drag a four corner handle to crop two adjacent edges simultaneously. 278 Chapter 7 Basic Compositing • Press Shift while you drag to constrain corner or edge cropping to the aspect ratio of the layer. Note: If a layer is modified with the Distort tool, the Crop tool and its onscreen controls become disabled. However, you can still crop a distorted layer by adjusting its Crop parameter settings in the Properties Inspector. Additionally, the crop area and the image can be manipulated separately. To move the crop area while keeping the underlying image in place µ Drag inside the crop area. The crop area moves, allowing you to adjust the crop to a new location without changing its size or shape. To move the image while keeping the crop area in place µ Press Command while you drag inside the crop area. The crop area remains static, but the image underneath it moves, allowing you to change the visible area of the layer. Using the Edit Points Tool You can modify a shape or mask in the Canvas using the Edit Points tool. To modify a shape’s control points in the Canvas 1 After you create the shape or mask, choose the Edit Points tool from the 2D tools pop-up menu in the toolbar. Note: You can also double-click the shape, or Control-click the layer, then choose Edit Points from the shortcut menu. The layer’s control points become active. 2 In the Canvas, drag the points to modify the shape of the layer. For more information on working with shapes and masks, see Using Shapes, Masks, and Paint Strokes. Chapter 7 Basic Compositing 279 Using the Transform Glyph and Adjust Item Tools The Transform Glyph tool, available when a text layer is selected, activates onscreen controls that allow you to modify the position and X, Y, or Z rotation for individual characters (glyphs) in a text layer. For information on using the Transform Glyph tool, see Adjusting Glyph Attributes. The Adjust Item tool activates onscreen controls that allow you to manipulate filters, behaviors, generators, and other objects. For example, you can use the Adjust Item tool to adjust the center point of a blur filter, the shape of a particle emitter, or the settings of a gradient. Adjusting Layer Properties in the Inspector Manipulating an onscreen transform handle also changes the corresponding parameter in the Properties Inspector. If you want to transform a layer more precisely than the onscreen controls allow, you can change that parameter’s value in the Properties Inspector. When you select a single layer and open the Properties Inspector, the layer’s parameters are displayed. Making changes to the values in the Properties Inspector affects the selected layer. If more than one layer is selected in the Canvas, Layers list, or Timeline, the parameter values displayed in the Properties Inspector become inaccessible. However, you can still adjust the onscreen controls. Manipulating an onscreen transform handle affects every selected layer equally. To modify parameter values in the Properties Inspector Do one of the following: µ Select a parameter value field, enter a new number, then press Return. µ If the parameter has a graphical control, such as a slider or dial, adjust the control. µ To reset a parameter to its default state, click its reset button, or choose Reset Parameter from the parameter’s Animation menu. µ Drag left on the parameter value to decrease, or right to increase the value. For more information on how to use the parameter controls, see User Interface Controls. Parameters in the Properties Inspector The Properties pane of the Inspector displays the following parameters for most layers and groups: 280 Chapter 7 Basic Compositing Transform Parameters Position: Defines the X (horizontal), Y (vertical), and Z (depth) position of each layer. The coordinate system used by Motion specifies the center of the Canvas as 0, 0, 0 regardless of the frame size of the project. Moving a layer to the left subtracts from the X value, while moving to the right adds to the X value. Moving a layer up adds to the Y value, and moving a layer down subtracts from the Y value. Moving a layer closer adds to the Z value, while moving further away subtracts from the Z value. Canvas center point (0,0) -360 pixels +360 pixels +240 pixels -240 pixels Each layer’s position is centered on its anchor point. Offsetting the anchor point also offsets the position of the layer relative to the X, Y, and Z position values you have set. Rotation: A dial that controls a one-dimensional value representing the number of degrees of rotation around the Z axis. A positive value rotates the layer counterclockwise. A negative value rotates the layer clockwise. Rotating a layer beyond 360 degrees results in multiple rotations when the Rotation parameter is animated. Click the disclosure triangle next to the Rotation parameter to reveal dials that adjust rotation around all three axes (X, Y, and Z), as well as the Animate pop-up menu. • Animate: Allows you to set the interpolation for animated 3D rotation channels to one of two options: • Use Rotation: The default interpolation method. Layer rotates from its start angle to their final angle. Depending on the animation, the layer might twist before reaching its final orientation (the last keyframed value). For example, if the X, Y, and Z Angle parameters are animated from 0 degrees to 180 degrees in a project, the layer rotates on all axes before reaching its final orientation. • Use Orientation: This alternate interpolation method provides smoother interpolation but does not allow multiple revolutions. Use Orientation interpolates between the layer’s start orientation (first keyframe) to its end orientation (second keyframe). Note: The Rotation parameter must be keyframed for the Animate parameter options to have any effect. Chapter 7 Basic Compositing 281 Scale: A slider that controls the percentage representing the layer’s scale, relative to its original size. By default, the horizontal and vertical scale of a layer is locked to the layer’s original aspect ratio—represented by a single percentage. Click the disclosure triangle to display independent percentages for the X, Y, and Z scales of the layer. Note: Setting a layer’s scale to a negative value flips the layer. Shear: Value sliders that defines the X and Y shear of the layer. A layer with no shear has X and Y shear values of 0. Positive values shear in one direction, while negative values shear in the other. Anchor Point: Value sliders that define the X and Y position of the anchor point relative to the center of the layer. Coordinates of 0, 0 center the anchor point in the bounding box defining the outer edge of the layer. Click the disclosure triangle to expose an additional value slider defining the Z position. Blending Parameters Opacity: A slider that sets the transparency of the layer. For more information, see Editing Opacity and Blending Parameters. Blend Mode: A pop-up menu that sets the Blend Mode of the layer. For more information, see Editing Opacity and Blending Parameters. Preserve Opacity: When this checkbox is selected, the layer appears only where another layer is visible behind it in the composite. The front layer uses the opacity value of the layer behind it. For more information, see Preserve Opacity Option. Preserve Opacity disabled Preserve Opacity enabled Casts Reflections: A pop-up menu that determines whether a layer casts a reflection. Choose from three options: Note: Reflections are only visible when layers are in a 3D group. For more information on 3D groups, see 3D Group Properties. • Yes: The layer is seen reflected in nearby reflective layers. • No: The layer is ignored by reflective surfaces. • Reflection Only: The layer becomes invisible, but will appear in reflective surfaces around it. 282 Chapter 7 Basic Compositing The following three parameter groups in the Properties Inspector—Lighting, Shadows, and Reflection—appear only when the parent group is set to 3D. Lighting Parameters Shading: A pop-up menu that sets how a layer responds to lights in the scene. There are three options: • Inherited: The layer uses the shading value of its parent. • On: The layer can be lit. • Off: The layer ignores scene lights. Highlights: When this checkbox is selected, lit layers in the scene show highlights. This parameter has no effect if Shading is set to Off. Click the disclosure triangle to reveal an additional Shininess parameter. • Shininess: A slider that sets how strong a layer’s highlights appear. Higher values create a glossier appearance. For more information on using lights, see Lighting. Shadows Parameters Cast Shadows: A checkbox that sets whether a shadow is cast when a layer lies between a light source and another layer. Note: This parameter does not affect drop shadows. Receive Shadows: Controls whether neighboring layers’ shadows affect the current layer. When this checkbox is deselected, light affects the layer as if the shadow-casting layer did not exist. Shadows Only: A checkbox that, when selected, specifies that a layer blocks light and casts a shadow, while the layer itself does not appear in the scene. Note: For more information on using shadows, see Shadows. Reflection Parameters Reflectivity: A slider that controls the shininess of the layer’s surface. When set to 0%, there is no reflectivity. When set to 100%, the layer is totally reflective, like a mirror. Blur Amount: A slider that controls how blurry the reflection appears, creating the appearance of soft focus due to the surface quality of the reflecting layer. Falloff: A checkbox that controls whether the reflection fades with distance from the layer, producing a more realistic result. Click the disclosure triangle to show additional controls that adjust the falloff effect: Begin Distance, End Distance, and Exponent. The Exponent slider adjusts how quickly the reflection becomes fainter as reflected layers move away from the reflecting layer. Blend Mode: A pop-up menu that determines the blend mode used for the reflection. Note: For more information on using reflections and their parameters, see Reflections. Chapter 7 Basic Compositing 283 Additional Lighting, Shadows, and Reflection Restrictions The Lighting, Shadows, and Reflection parameter groups have several additional restrictions. Use the following guidelines when working with lights and reflections: • The Reflection parameter group is not available for 3D particle emitters or 3D replicators. • The Reflection parameter group is not available for normal text layers. However, the Reflection parameters are available for flattened text, which is activated by the Flatten checkbox in the Layout pane of the Text Inspector. Additional Parameters in the Properties Inspector Drop Shadow: Turns the drop shadow of a layer on and off. For more information about working with drop shadows, see Drop Shadows. Four Corner: Click the activation checkbox to turn distorting on and off. If a layer is distorted and this checkbox is deselected, the layer resumes its original shape, although the distorted coordinates are maintained. Reselecting the checkbox re-enables the distort effect specified by the Four Corner coordinate parameters. Value sliders modify the X and Y coordinates of the layer’s four corner points (Bottom Left, Bottom Right, Top Right, and Top Left). You can also control these parameters visually in the Canvas using the Distort tool. For more information, see 2D Transform Tools. Crop: Click the activation checkbox to turn cropping on and off. If a layer is cropped and this checkbox is deselected, the layer resumes its original size, although the cropping values are maintained. Reselecting the checkbox re-enables the cropping effect specified by the crop parameters. Adjust the four sliders to modify the crop parameters. Each slider defines the number of pixels to be cropped from the layer’s four sides, relative to the outer edge of the bounding box that surrounds it. These parameters are similar to the crop parameters in the Media Inspector (available when you select a layer in the Media list). However, whereas cropping a layer via the Media Inspector crops all instances of that layer in your project, cropping a layer in the Properties Inspector crops only a single instance of the layer; duplicates of the layer remain uncropped. For more information, see Media Inspector. Timing: These parameters control all aspects of clip retiming. For more information, see Retiming. 284 Chapter 7 Basic Compositing Making Clone Layers In a motion graphics project, sometimes it is necessary to reuse a complex layer in other parts of the project multiple times. Although you can duplicate or cut and paste any layer, if you update the original, none of the changes you make are applied to the copies. Keeping track of these changes can become a tedious and difficult management task. If you find yourself applying the same filters and masks to more than one copy of a layer, you should take advantage of the Make Clone Layer command. Making clone layers has the additional benefit of improving project playback and rendering performance. You can make clone layers out of images, video clips, groups, particle systems, text, shapes, and replicators. To create a clone layer Do one of the following: µ Select the layer to clone, then choose Object > Make Clone Layer (or press K). µ Control-click a layer in the Canvas, then choose Make Clone Layer from the shortcut menu. µ Control-click a layer in the Layers list or Timeline, then choose Make Clone Layer from the shortcut menu. A clone layer is created and appears in the Canvas on top of the original layer. In the Layers list, the clone layer appears with the default name “Clone Layer.” A clone layer icon appears next to the name. The clone layer inherits the following properties from its source layer: Rotation, Scale, Opacity, Blend Mode, and Drop Shadow. Adjustments made to any of these properties of the source layer after clone layer creation do not propagate to any clone layers made from the same source layer. The clone layers only inherit changes made to filters and masks in the source layer. Important: Changes to behaviors don’t propagate to clone layers, unless the behavior affects a filter or mask in the source layer. Chapter 7 Basic Compositing 285 Clone layer layers can be manipulated in the Canvas and Timeline in exactly the same way as the source layer. Important: A clone layer created from retimed layers cannot have its Frame Blending parameter changed from that of the source layer. Editing Opacity and Blending Parameters The opacity and blending controls for each layer appear in the Properties Inspector and in the default HUD for any selected layer. Opacity By layering together layers with varying opacities, you can merge them together in ways not otherwise possible. For example, if you have two full-screen background images you want to use together, you can set the opacity of the layer in front to 50%, allowing the layer in back to show through. Image in front Image in back Front image at 50% opacity You can overlap as many layers as you want, and by varying their opacities, selectively reveal layers in the back. To change a layer’s opacity Do one of the following: µ Adjust the Opacity slider in the Blending section of the Properties Inspector. µ Adjust the Opacity slider in the HUD. Note: Some layers, such as text and shapes, have additional opacity parameters in their respective panes in the Inspector. For example, setting a shape’s Opacity value in the Properties pane and setting its Opacity value in the Style pane require separate controls that have multiplicative effects. In other words, if Opacity is set to 50% in the Properties pane, then set to 50% in the Shape Style pane, the resulting opacity for the text is 25%. 286 Chapter 7 Basic Compositing Blend Modes While the Opacity parameter defines a uniform level of transparency for a layer, the blend modes allow you many more creative options to control how the overlapping images interact, based on the colors in each layer. By default, each layer’s blend mode is set to Normal, so changes to a layer’s opacity uniformly affect every part of the image equally. Blend modes can create transparency in a layer regardless of the setting of its Opacity parameter. This is because the pixels of an image with a selected blend mode are combined with the pixels of any layers lying immediately below in the Canvas. For example, if you overlap two layers, then set the blend mode of the top one to Screen, the darker areas of the screened image become transparent, while the lighter areas remain more solid, resulting in the following image: Important: The transparency created by most of the available blend modes only affects how a layer combines with overlapping layers underneath. These blend modes do nothing to affect a layer’s alpha channel. For information about blend modes that do affect a layer’s alpha channel, see Blend Modes That Manipulate Alpha Channels. Each blend mode combines layers in different ways. For example, setting the top layer’s blend mode to Multiply yields a result opposite to that of the Screen blend mode, as the darker areas of the image remain solid, and the lighter areas become transparent. Chapter 7 Basic Compositing 287 Blend modes only affect the combination of a layer with the layers below it. Any layers appearing above have no effect on this interaction, even if the layer is transparent. In the following example, the text layers on the top level have no effect on the blended images below. For overlapping layers with different blend modes, the bottommost pair of layers is combined first, and that combination then interacts with the next layer up, and so on until all overlapping layers are combined for the final image. In this case, each layer with a specified blend mode only interacts with the image below it, whether that image is a single layer or a pair of layers blended together. Each of Motion’s blend modes works in conjunction with the Opacity parameter to alter the interaction between the foreground and background layers. Adjusting a layer’s opacity lessens the blending effect assigned to it, even as it reduces that layer’s visibility. This allows you to customize any blend mode to better suit your needs. Blend modes only affect overlapping layers, and have no interaction with your project’s background color (unless the background is set to Environment). If you specify a blend mode for a layer that doesn’t overlap anything, that layer remains as it was before. To change a selected layer’s blend mode Do one of the following: µ Choose an option from the Blend Mode pop-up menu in the HUD. µ Choose an option from the Blend Mode pop-up menu in the Properties Inspector. µ Choose Object > Blend Mode, then choose an option from the submenu. µ Display the Blend Mode column in the Layers list (choose View > Layers Columns > Blend Mode), then choose an option from a layer’s Blend Mode pop-up menu. µ Control-click a layer in the Canvas, then choose an option from the Blend Mode submenu in the shortcut menu. µ Control-click a layer in the Layers list or Timeline, then choose an option from the Blend Mode submenu in the shortcut menu. 288 Chapter 7 Basic Compositing Preserve Opacity Option The Preserve Opacity checkbox in the Properties Inspector allows you to limit a layer’s visibility to areas of the Canvas where the layer overlaps nontransparent regions of other layers. For example, you might place two overlapping layers into your project, as shown below: If you select Preserve Opacity for the Dolphin layer in front, the result is this: The only area of the Dolphin layer visible is the area that overlaps the sea life picture layer behind it. At first, this might not appear to be very exciting, but the Preserve Opacity checkbox can be used in combination with the opacity and blend mode to create some very interesting effects. Note: The layer with the enabled Preserve Opacity parameter takes the opacity value of the layer beneath it in the composite stack. Chapter 7 Basic Compositing 289 Preserve Opacity is an easy way to selectively reveal part of a layer. In this example, by setting the blend mode of the top color wash layer to Exclusion, you get the resulting image: By selecting the Preserve Opacity checkbox for the color wash layer on top, only the overlapping parts are displayed, and the superimposed image only affects the Dolphin layer. To turn on Preserve Opacity µ With a layer selected in the Canvas, Layers list, or Timeline, select the Preserve Opacity checkbox in the Properties Inspector. Using Blend Modes Each blend mode presents a different method for combining two or more images together. Blend modes work in addition to a layer’s alpha channel and opacity parameter. To understand the descriptions of each blend mode in this chapter, it’s important to understand that blend modes mix colors from overlapping images based on the brightness values in each color channel in an image. Every image consists of red, green, blue, and alpha channels. Each channel contains a range of brightness values that define the intensity of each pixel in the image that uses some of the channel’s color. 290 Chapter 7 Basic Compositing The effect that each blend mode has on overlapping layers depends on the range of color values in each layer. The red, green, and blue channels in each overlapping pixel are mathematically combined to yield the final image. These value ranges can be described as blacks, midrange values, or whites. These regions are loosely illustrated by the chart below. Blacks Midrange color values Whites For example, the Multiply blend mode renders color values that fall into the white areas of an image transparent, while the black areas of the image are left alone. All midrange color values become translucent, with colors in the lighter end of the scale becoming more transparent than the colors in the darker end of the scale. Group Blend Modes Blend modes work differently depending on whether they’re used with groups or layers. In particular, the Pass Through blend mode is available only for groups. Pass Through When a group is set to Pass Through, each layer is blended with all layers and groups that appear underneath it in the Layers list. In this example, the Swirls layer is set to Stencil Luma, and the Fishes layer is set to Add. Chapter 7 Basic Compositing 291 With the enclosing group set to Pass Through, the Swirls layer stencils all other layers underneath it, including the Gradient layer in the bottom group. The result is that all layers are stenciled against the background color. The Fishes layer is likewise added to the combined stack of layers. Normal When a group is set to Normal, the layers nested in that group can only be blended with one another. Layers nested in that group do not blend with layers in other groups beneath it in the Layers list. In this example, the Fishes and Swirls layers in the topmost group are blended only with themselves when the topmost group is set to Normal. 292 Chapter 7 Basic Compositing The Gradient layer in the bottom group is left unaffected, although the transparency in the top group caused by the combination of the Add and Stencil Luma blend modes reveals it in the background. Other Blend Modes When you set a group to an available blend mode, each layer nested in that group is blended according to its blend mode. The resulting image is then blended with the groups underneath, according to the selected blend mode for that group. In this example, the topmost group is set to Multiply. As a result, the combination of the Added Fishes and the Stenciled Swirls layers is multiplied with the Gradient layer in the bottommost group. Layer Blend Modes The following section describes how blend modes affect individual layers. All blend modes are presented in the order in which they appear in the Blend Mode pop-up menu. Chapter 7 Basic Compositing 293 About the Examples in This Section Most of the examples in this section are created using the following two reference images. The resulting “Mondrian Monkey” illustrates how differently the color values from each image interact when using each blend mode. When examining the results, pay attention to the white and black areas of the colored squares, as well as the highlights and shadows in the monkey. These show you how each blend mode treats the whites and blacks in an image. The other brighter and darker colors serve to illustrate each blend mode’s handling of overlapping midrange color values. The yellow, gray, orange, and blue squares, in particular, all have very different color and luminance values that contrast sharply from example to example. Boxes object Monkey object Important: Depending on the blend mode, layer and group ordering may or may not be important. Some blend modes behave differently depending on which image is on top. Normal The default for layers. The only transparency in a layer set to Normal is caused by its Opacity parameter or by an alpha channel assigned to it. Subtract Subtract darkens all overlapping colors. Whites in the foreground image go black, while whites in the background image invert overlapping color values in the foreground image, creating a negative effect. Blacks in the foreground image become transparent, while blacks in the background image are preserved. Overlapping midrange color values are darkened based on the color of the background image. In areas where the background is lighter than the foreground, the background image is darkened. In areas where the background is darker than the foreground, the colors are inverted. 294 Chapter 7 Basic Compositing The order of two layers affected by the Subtract blend mode is important. Boxes object on top Monkey object on top Darken Darken emphasizes the darkest parts of each overlapping image. Whites in either image allow the overlapping image to show through completely. Lighter midrange color values become increasingly translucent in favor of the overlapping image, while darker midrange color values below that threshold remain solid, retaining more detail. The order of two layers affected by the Darken blend mode does not matter. Suggested uses: The Darken blend mode is useful for using one image to texturize another selectively, based on its darker areas. You can also use Screen, Color Burn, and Linear Burn for variations on this effect. Chapter 7 Basic Compositing 295 Multiply Like Darken, Multiply emphasizes the darkest parts of each overlapping image, except that midrange color values from both images are mixed together more evenly. Progressively lighter regions of overlapping images become increasingly translucent, allowing whichever image is darker to show through. Whites in either image allow the overlapping image to show through completely. Blacks from both images are preserved in the resulting image. The order of layers affected by the Multiply blend mode does not matter. Suggested uses: The Multiply blend mode is useful in situations where you want to knock out the white areas of a foreground image and blend the rest of the image with the colors in the background. For example, if you superimpose a scanned sheet of handwritten text over a background image using the Multiply blend mode, the resulting image becomes textured with the darker parts of the foreground. Color Burn Color Burn intensifies the dark areas in each image. Whites in the background image replace the foreground image, while whites in the foreground image become transparent. Midrange color values in the background image allow midrange color values in the foreground image to show through. Lighter midrange color values in the background image allow more of the foreground image to show through. Darker midrange values in all visible overlapping areas are then mixed together, resulting in intensified color effects. 296 Chapter 7 Basic Compositing The order of two layers affected by the Color Burn blend mode is important. Boxes object on top Monkey object on top Linear Burn Similar to Multiply, except that darker overlapping midrange color values are intensified, like Color Burn. Progressively lighter color values in overlapping images become increasingly translucent, allowing darker colors to show through. Whites in either image allow the overlapping image to show through completely. The order of two layers affected by the Linear Burn blend mode does not matter. Add Add emphasizes the whites in each overlapping image and lightens all other overlapping colors. The color values in every overlapping pixel are added together. The result is that all overlapping midrange color values are lightened. Blacks from either image are transparent, while whites in either image are preserved. Chapter 7 Basic Compositing 297 The order of two layers affected by the Add blend mode does not matter. Suggested uses: The Add blend mode is useful for using one image to selectively texturize another, based on its lighter areas such as highlights. You can also use Lighten, Screen, Color Dodge, and Linear Dodge to create variations of this effect. Lighten Lighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is compared, and the lightest pixel from either image is preserved, so the final image consists of a dithered combination of the lightest pixels from each image. Whites in both images show through in the resulting image. The order of two layers affected by the Lighten blend mode does not matter. Screen Like Lighten, Screen also emphasizes the lightest parts of each overlapping image, except that the midrange color values of both images are mixed together more evenly. 298 Chapter 7 Basic Compositing Blacks in either image allow the overlapping image to show through completely. Darker midrange values underneath a specific threshold allow more of the overlapping image to show. Whites from both images show through in the resulting image. The order of two layers affected by the Screen blend mode does not matter. Suggested uses: The Screen blend mode is useful for knocking out the blacks behind a foreground subject, instead of using a Luma Key. It’s mainly useful when you want the rest of the foreground subject to be mixed with the background image, based on its brightness. It’s good for glow and lighting effects and for simulating reflections. You can also use the Add, Lighten, and Color Dodge blend modes to create variations of this effect. Top object Bottom object Screen composite Color Dodge Whites in either the foreground or background image are preserved in the final image. Blacks in the background image replace the foreground image, while blacks in the foreground image become transparent. Midrange color values in the background image allow midrange color values in the foreground image to show through. Darker values in the background image allow more of the foreground image to show through. All overlapping midrange color values are mixed together, resulting in interesting color mixes. Chapter 7 Basic Compositing 299 Reversing the two overlapping images results in subtle differences in how the overlapping midrange color values are mixed together. Boxes object on top Monkey object on top Linear Dodge Similar to Screen, except that lighter midrange color values in overlapping regions become intensified. Blacks in either image allow the overlapping image to show through completely. Whites from both images show through in the resulting image. The order of two layers affected by the Linear Dodge blend mode does not matter. Overlay Whites and blacks in the foreground image become translucent and interact with the color values of the background image, causing intensified contrast. Whites and blacks in the background image replace the foreground image. Overlapping midrange values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening. Darker background midrange values are mixed by multiplying. The visible result is that darker color values in the background image intensify the foreground image, while lighter color values in the background image wash out overlapping areas in the foreground image. 300 Chapter 7 Basic Compositing The order of two layers affected by the Overlay blend mode is important. Boxes object on top Monkey object on top Suggested uses: The Overlay blend mode is useful for combining areas of vivid color in two images. Soft Light Soft Light is similar to the Overlay blend mode. Whites and blacks in the foreground image become translucent, but interact with the color values of the background image. Whites and blacks in the background image replace the foreground image. All overlapping midrange color values are mixed together, creating a more even tinting effect than the Overlay blend mode. The order of two layers affected by the Soft Light blend mode is important. Boxes object on top Monkey object on top Chapter 7 Basic Compositing 301 Suggested uses: The Soft Light blend mode is useful for softly tinting a background image by mixing it with the colors in a foreground image. Hard Light Whites and blacks in the foreground image block the background image. Whites and blacks in the background image interact with overlapping midrange color values in the foreground image. Overlapping midrange color values are mixed together differently depending on the brightness of the background color values. Lighter background midrange values are mixed by screening. Darker background midrange values are mixed together by multiplying. The visible result is that darker color values in the background image intensify the foreground image, while lighter color values in the background image wash out overlapping areas in the foreground image. The order of two layers affected by the Hard Light blend mode is important. Boxes object on top Monkey object on top Vivid Light Vivid Light is similar to the Hard Light blend mode, with two exceptions. The first is that midrange color values are mixed together more intensely. The second is that whites and blacks from either overlapping image are preserved in the end result. Note: Dithering can cause overlapping areas of solid white and solid black. 302 Chapter 7 Basic Compositing Overlapping midrange color values are mixed together differently depending on the brightness of the background color values. Lighter midrange values become washed out, while the contrast of darker midrange color values is increased. The overall effect is more pronounced than with the Hard Light blend mode. Reversing the two overlapping images results in subtle differences in how the overlapping midrange color values are mixed together. Boxes object on top Monkey object on top Linear Light Linear Light is similar to the Hard Light blend mode, except that overlapping midrange color values are mixed together with higher contrast. Whites and blacks in the foreground image block the background image. Whites and blacks in the background image interact with overlapping midrange color values in the foreground image. Overlapping midrange color values are mixed together. Lighter background colors brighten the foreground image, while darker colors darken it. The order of two layers affected by the Linear Light blend mode is important. Boxes object on top Monkey object on top Chapter 7 Basic Compositing 303 Pin Light Pin Light is similar to the Hard Light blend mode, except that overlapping midrange color values are mixed together differently based on their color value. Whites and blacks in the foreground image block the background image. Whites and blacks in the background image interact with overlapping midrange color values in the foreground image. The methods used by the Pin Light blend mode to mix two images are somewhat complex. Overlapping midrange color values are treated differently depending on which of the four regions of the luminance chart they fall into. • Lighter and darker areas of the foreground image falling close to the whites and blacks are preserved. • Areas of the foreground image falling near the center of the midrange are tinted by the background color. • Darker areas of the foreground image between the blacks and center of the midrange are lightened. • Lighter areas of the foreground image between the whites and the center of the midrange are darkened. The end result might appear alternately tinted or solarized, depending on the lightness or darkness of the overlapping values. This blend mode lends itself to more abstract effects. The order of two layers affected by the Pin Light blend mode is important. Boxes object on top Monkey object on top Hard Mix Hard Mix is similar to the Hard Light blend mode, except that the saturation of overlapping midrange color values is intensified, resulting in extremely high-contrast images. Whites and blacks are preserved. 304 Chapter 7 Basic Compositing Although the order of two layers doesn’t affect the overall look of two images blended using the Hard Mix blend mode, there might be subtle differences. Difference Similar to the Subtract blend mode, except that areas of the image that would be severely darkened by the Subtract blend mode are colorized differently. The order of two layers affected by the Difference blend mode does not matter. Exclusion Similar to the Difference blend mode, except that the resulting image is lighter overall. Overlapping areas with lighter color values are lightened, while darker overlapping color values become transparent. Chapter 7 Basic Compositing 305 The order of two layers affected by the Exclusion blend mode does not matter. Blend Modes That Manipulate Alpha Channels The Stencil and Silhouette blend modes let you use a single layer’s alpha channel or luma values to isolate regions of background layers and groups. Note: Similar effects can be accomplished using shape and image masks. In addition, masks might provide you with a greater degree of control, depending on your needs. For more information, see Using Shapes, Masks, and Paint Strokes. Stencil modes crop out all non-overlapping parts of layers underneath the layer used as the stencil. Silhouette modes do the opposite, punching holes in overlapping layers underneath in the shape of the layer used as the silhouette. When working in a 3D group, changes in depth order affect the Stencil and Silhouette blend modes differently. For example, if you have two layers in a 3D group and the upper layer is set to Stencil Alpha or Stencil Luma, the blend mode remains in effect when the upper layer is moved behind the lower layer in Z space. If you have two layers in a 3D group and the upper layer is set to Silhouette Alpha or Silhouette Luma, the blend mode does not remain in effect when the upper layer is moved behind the lower layer in Z space. 306 Chapter 7 Basic Compositing Limiting the Effect of Stencil and Silhouette Blend Modes When you use the Stencil or Silhouette blend modes in a group set to the Pass Through blend mode, the resulting effect carries down through every layer in every group that lies underneath it in the Layers list, unless the group that contains it is rasterized. This is a powerful, but not always desired effect, because it prevents you from placing a background group to fill the transparent area. You can limit the Stencil or Silhouette blend mode to affect only those layers in the same enclosing group by setting the group’s blend mode to anything other than Pass Through. For example, if you set the enclosing group of the two layers in the Silhouette Alpha example to Normal, then add a group underneath containing additional layers, those layers show through the transparent areas created by the silhouetted group. Stencil Alpha The Stencil Alpha blend mode uses the alpha channel of the affected layer to crop out all non-overlapping parts of layers and groups underneath it in the Layers list. Object used for stencil Object underneath End result Stencil Luma The Stencil Luma blend mode does the same thing as the Stencil Alpha blend mode, but uses the affected layer’s luma value to define transparency. Stencil Luma is useful if the layer you want to use for cropping has no alpha channel of its own. Chapter 7 Basic Compositing 307 Silhouette Alpha Silhouette Alpha is the reverse of the Stencil Alpha blend mode and is useful for cutting holes in layers underneath. Object used for silhouette Object underneath End result Silhouette Luma Silhouette Luma is the reverse of Stencil Luma. Behind The Behind blend mode forces the layer to appear behind all other layers and groups, regardless of its position in the Layers list and Timeline. If multiple layers or groups are set to Behind, they appear behind all other groups not set to Behind, in the order in which they appear in the Layers list. Alpha Add The Alpha Add blend mode works similarly to the Add blend mode, but instead of adding the color channels of overlapping layers, it adds their alpha channels together. Try using this blend mode instead of Motion’s default method of alpha channel compositing for a different treatment of overlapping areas of translucency. Light Wrap This mode takes bright areas from the background layer at the edge of the matte and blurs them into the foreground layer. This is intended to create a more organic, seamless composite, where light from the background appears to bleed onto the foreground layer as would occur in a natural, non-composited image. To adjust the parameters that affect the Light Wrap, such as the Amount, Intensity, Opacity, and Mode, apply the Keyer filter and make those adjustments in the Filters Inspector. For more information, see Keyer. Note: Motion applies the Light Wrap effect at the end of the rendering process. When you add other filters to the layer, such as color correction effects, they are rendered before the Light Wrap. 308 Chapter 7 Basic Compositing Drop Shadows A drop shadow, by default, is a dark, translucent, offset shape that falls behind a layer, as if a light were shining on the layer. Drop shadows are the same size as the layer to which they’re applied, although blurring a drop shadow might enlarge it somewhat. Drop shadows create the illusion of depth, so the foreground layer seems to pop out at the viewer. For this reason, drop shadows are frequently used to create the impression of space between two overlapping layers. Drop shadows also darken overlapping regions of background layers. Consequently, adding a drop shadow to foreground text can often make the text easier to read. Without a drop shadow With a drop shadow Because each layer has drop shadow parameters in the Inspector and HUD, it’s easy to add a drop shadow to a layer. After you add a drop shadow, you can manipulate it in the Canvas. Tip: Motion also has the ability to generate true cast shadows when using lighting in 3D layers. For more information about cast shadows, see Shadows. Important: Text layers have additional drop shadow parameters, located in the Style pane of the Text Inspector. For more information about text layer drop shadows, see Adding a Drop Shadow. Chapter 7 Basic Compositing 309 Adjusting Drop Shadows in the Canvas You can interactively modify a layer’s drop shadow using the onscreen controls. The Drop Shadow Tool Selecting the Drop Shadow tool in the toolbar activates onscreen controls for selected layers with active drop shadows. Drop Shadow blur handles Drop Shadow position bounding box Four handles at each corner allow you to increase or decrease the blur of the drop shadow. Dragging anywhere in the drop shadow's bounding box allows you to simultaneously change the shadow’s angle and distance. To increase or decrease a drop shadow’s blur 1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar. 2 In the Canvas, drag a corner handle inward to decrease a shadow’s blur or outward to increase the blur. To move a layer’s drop shadow 1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar. 2 Drag anywhere in the shadow’s bounding box to move it around. Drop Shadow Controls in the Properties Inspector In addition to the Canvas and HUD drop shadow controls, each layer has drop shadow parameters in the Properties Inspector. Use the activation checkbox beside the Drop Shadow category in the Inspector to turn a selected layer’s drop shadow on or off. Click Show on the right side of the Drop Shadow category to reveal additional controls. Color: Color controls that set the drop shadow’s color. The default color is black. Opacity: A slider that sets the drop shadow’s transparency. Blur: A slider that specifies the drop shadow’s softness. 310 Chapter 7 Basic Compositing Distance: A slider that sets how close or far a layer’s drop shadow is to the layer. The farther away a drop shadow is, the more distance there appears to be between the layer and anything behind it in the composition. Angle: A dial that lets you change the direction of the drop shadow. Changing the Angle of the drop shadow changes the apparent direction of the light casting the shadow. Fixed Source: When this checkbox is selected, the drop shadow behaves as if cast by a fixed light source, regardless of camera or text movement. Retiming Your motion graphics projects might require you to perform special timing tricks on media: speeding a clip up, slowing it down, or playing it back at different speeds. Use the Timing controls in the Properties Inspector to modify speed and playback attributes of media clips. Using Retiming Behaviors In addition to the Timing controls in the Properties Inspector, Motion includes a number of Retiming behaviors designed for commonly applied retiming tasks (hold frames, strobing, looping, and so on). Take some time to look over the Retiming behaviors in the Library before spending a lot of time in the Inspector creating your own custom retiming from scratch. Tip: You can also manipulate clip timing in the Timeline with the help of modifier keys. Indicators in the Timeline help you visualize loops and other retiming conditions. For more information on Retiming in the Timeline, see Retiming in the Timeline. Timing Controls in the Properties Inspector Media layers (images and movie clips as opposed to Motion-created shapes) have timing parameters in the Properties Inspector. Click Show on the right side of the Timing category to reveal these timing controls. Still images and other layers without an inherent time dimension have a reduced set of Timing controls. Time Remap: Sets how time is remapped in the clip. Use this pop-up menu to set Constant Speed or Variable Speed. • Constant Speed: Retimes the entire clip using the same value. • Variable Speed: Allows you to animate the speed of the clip over time. Speed: A value slider that sets the speed of the clip as a percentage. The default is 100%. Values lower than 100 play back the clip more slowly than its original speed and also extend the duration of the clip. Values higher than 100 play back the clip faster than its original speed and shorten the duration of the clip. Chapter 7 Basic Compositing 311 This parameter appears only when Time Remap is set to Constant Speed. Retime Value: Displays the time value of the clip at a given frame. When you set Time Remap to Variable Speed, two keyframes are generated at the first and last frame of the clip. The two default keyframes represent 100% constant speed. Adding keyframes to this parameter and assigning them different Retime Values makes the speed of the clip ramp from one speed to another. This parameter appears only when Time Remap is set to Variable Speed. In: Sets the In point of the layer, in both constant and variable speed modes. Adjusting this parameter moves the layer In point to the specified frame without affecting the duration of the layer. Out: Sets the Out point of the layer, in both constant and variable speed modes. Adjusting this parameter moves the layer Out point to the specified frame without affecting the duration of the layer. Duration: Sets the total duration of the layer. If Time Remap is set to Constant Speed, adjusting Duration will also affect the Speed and the Out point. If Time Remap is set to Variable Speed, adjusting Duration does not affect variable speed playback. Reverse: This checkbox controls whether the clip is played back in reverse. Frame Blending: Sets the method used to determine how the image is blended during each frame of playback. The Frame Blending pop-up menu contains the following items: • None: Displays the frame from the original clip nearest the source frame. • Blending: The default setting. Displays a blend of the individual pixels of adjacent frames. • Motion-Blur Blending: Applies a motion blur algorithm to the blended frames. • Optical Flow: Uses an optical flow algorithm to blend the two frames surrounding the desired frame. Using this method affects playback performance most significantly. To display frames properly, Motion analyzes the clip to determine the directional movement of pixels. Only the portion of the clip used in the project (the clip between the In and Out points) is analyzed. When you choose Optical flow, an analysis indicator appears in the lower-left corner of the Canvas. Analysis indicator 312 Chapter 7 Basic Compositing If you play back the project before the analysis is complete, the clip will appear as if Frame Blending is set to None. When the analysis is complete, the indicator disappears, and the clip will play back properly. You can view more detailed information about the clip analysis and stop the process before it is finished. You can perform optical flow analysis on multiple clips simultaneously. The clips are processed in the order—the first clip you apply optical flow to is processed first, and so on. Note: The more motion contained in a clip, the longer the analysis takes. For information on pausing, reordering, or stopping a clip analysis, see Displaying and Editing Retiming Tasks. Important: When importing interlaced footage and using the Optical Flow method for frame blending, be sure the Field Order parameter (in the Media Inspector) is assigned to the correct value. Otherwise, artifacts might appear in the retimed layer. End Condition: A pop-up menu that lets you set how playback continues when the end of the clip is reached. There are four options: • None: The default setting. The layer’s duration in your project is equal to the duration of its source media file. • Loop: When the last frame of the clip is reached, the clip loops back to the first frame and plays again. This can cause a jump in the clip’s apparent playback unless the clip was designed to loop seamlessly. • Ping-Pong: When the last frame of the clip is reached, the next iteration of clip playback is reversed. If you set a clip of a ball rolling on the floor to loop with the Ping-Pong option, it would appear to roll forward, then backward, then forward again for the duration of the layer. The Ping-Pong option lets you extend the duration of some video clips more smoothly than the Loop option. • Hold: This freezes the last frame of the clip for the amount set in the End Duration slider. Note: When using the Hold option with interlaced footage, ensure that field order is properly set in the Media Inspector. To modify a clip’s field order, select the clip in the Media list, then choose an option from the Field Order pop-up menu in the Media Inspector. End Duration: A slider that lets you set the number of frames by which the clip is extended at the end of its duration. This value can be adjusted only if End Condition is set to a value other than None. Displaying and Editing Retiming Tasks You can display processing information when retiming a clip. Chapter 7 Basic Compositing 313 To display more information about ongoing clip analysis Do one of the following: µ Choose Window > Show Task List. µ Click the analysis indicator (in the lower-left corner of the Canvas (beside the Play/Mute audio button). Analysis indicator The Background Task List window appears. Click to pause The Background Task List shows all processes Motion is working on in the background. Each task is labeled, has a progress bar, and displays text describing how far along the task is. You can interrupt current and pending operations by pressing the pause button next to the progress bar. To pause clip analysis µ In the Background Task List window, click the Pause button. A message appears detailing how many frames have been processed. Note: When analysis is paused, projects play back at a much improved speed. To restart clip analysis µ In the Background Task List window, click the analyze/pause button. Click to restart analysis 314 Chapter 7 Basic Compositing To reorder clip analysis µ In the Background Task List window, drag the clip to analyze to the top of the list. Analysis begins on the repositioned clip, and the clip previously being processed is paused. To have Motion close the Background Task List window when analysis is complete µ In the Background Task List dialog, select the “Close when tasks are complete” checkbox. Expose Commands Motion’s expose key commands provide a way of viewing multiple layers at once, exploding and rescaling them. The expose commands allow you to access all layers in a project in the Canvas without having to drill down into the Layers list or Timeline. Expose commands also let you select inactive layers at the playhead’s current position or jump to a selected layer’s In point. There are two expose commands: One displays all layers in a project, and the other displays only those layers active at the current position of the playhead in the Timeline. Exposing Active Layers The Expose Active Layers command lets you view the layers that are active at the position of the playhead in the Timeline. To expose layers that are active at the playhead position 1 Click anywhere in the Canvas. 2 Press X. Layers active at the current position of the playhead temporarily scale down and spread out over the Canvas. Each active layer is represented by a white frame in the Canvas. Moving the pointer over a frame reveals the layer’s name. 3 Select the layer to work on. The elements move and rescale back to their original positions; the element is selected in the Canvas; and the playhead moves to the first frame of the selected layer. Chapter 7 Basic Compositing 315 Exposing All Layers Using the Expose All Layers key command, you can get a visual sense of all elements in your project and select an element to manipulate. To expose all layers in your project 1 Click anywhere in the Canvas. 2 Press Shift-X. Layers in the project temporarily scale down and spread out over the Canvas. Each layer in the project is represented by a white frame in the Canvas. Moving the pointer over a frame shows the layer’s name. Before After Expose command 3 Select the layer to work on. The layers move and rescale back to their original positions; the element is selected in the Canvas; and the playhead moves to the first frame of the selected layer. 316 Chapter 7 Basic Compositing The Timeline, one of the most flexible and valuable elements of the Motion interface, is where you control all timing aspects of the project. Whether you want to line up multiple objects to begin or end together, lengthen or shorten an object, or change which portion of a clip is used, the Timeline provides the tools you need. You can organize your objects to begin and end on the frames you choose. You can also align multiple effects so they occur simultaneously. You can control objects’ durations and even perform common trim operations to edit the objects as you would in a nonlinear video editing application. Additional controls let you manipulate masks, filters, behaviors, keyframes, and audio elements. The Timeline ruler provides an exact reference for managing timing and synchronizing effects. You can lock tracks to prevent changes, temporarily hide an object from view, and manage links between audio and video. At the bottom of the Canvas (above the Timeline and toolbar) is an abbreviated version of the Timeline, called the “mini-Timeline.” The mini-Timeline provides an at-a-glance look at where selected objects fit into your overall project. It also provides controls to perform quick edits such as moving, trimming, and slipping without opening the Timing pane. This chapter covers the following: • About the Timeline (p. 318) • Timeline Layers List (p. 320) • Adding Objects to the Timeline Layers List (p. 325) • Adding Layers to the Track Area (p. 329) • Editing Objects in the Timeline (p. 335) • Working in the Ruler (p. 349) • Adding Markers (p. 356) • Mini-Timeline (p. 360) 317 Using the Timeline 8 About the Timeline The Timeline is located under the toolbar in the area of the Motion interface known as the Timing pane. In addition to the Timeline, the Timing pane contains two related partitions that can be shown or hidden: the Audio Timeline and the Keyframe Editor (for more information, see Working with Audio Tracks and Animating in the Keyframe Editor). The Timeline itself consists of two areas: the Timeline layers list on the left and a track area on the right. You can add images and clips to your project via the Timeline, just as you add files to the Layers list or the Canvas. You can drag objects into the Timeline layers list, or drag them into the Timeline track area. The Timeline ruler, located above the track area, provides a precise reference for managing timing and synchronizing effects. Using controls in the Timeline layers list, you can lock tracks to prevent changes, temporarily hide an object from view, and manage links between audio and video. Timeline layers list Timeline ruler Track area Although you can create and modify many types of effects without ever using the Timeline, it is an essential tool when you want to manipulate the timing of your project’s contents. Still, there are occasions when you might want to hide the Timeline to make more room for other areas of the Motion project window. To hide the Timeline Do one of the following: µ Click the Show/Hide Timeline button in the lower-right corner of the Motion project window. µ Press Command-7. The Show/Hide Timeline button dims, and the Timeline collapses. For more information, see Timeline View Options. 318 Chapter 8 Using the Timeline Note: To collapse the entire Timing pane (Timeline, Audio Timeline, and Keyframe Editor), make sure that all three buttons in the lower-right corner of the Motion project window are dimmed. Timeline Tracks Each object in your project appears as a colored bar in the track area of the Timeline. Tracks are arranged in a hierarchy identical to that of the Layers list in the Project pane. This allows you to see each object’s place in time, as well as its relative position and duration. You can determine the type of each object in the track area based on its appearance. The following list describes the appearance of various Timeline objects. • Group: A double blue bar. For groups with multiple layers, the lower bar displays three lines and a value indicating the number of layers in the group. • Objects (video, stills, shapes, text, particles, replicators, cameras, lights): A blue bar. • Masks: a gray bar. • Behaviors and Filters: A thin purple bar. • Keyframes: Red diamonds beneath the keyframed object. Selected keyframes appear white. • Audio: A green bar displaying the audio waveform. Audio tracks are not displayed by default. For more information on displaying audio tracks see Working with Audio Tracks. Chapter 8 Using the Timeline 319 When you select an object in the Timeline, its bar becomes highlighted. When the Timeline is in Filmstrip mode, the filmstrip frames are highlighted with a white border. See Customizing the Track Display for more information on how to set Timeline view modes. Displaying the Timing Pane on a Second Monitor You can show the Timeline on a second display, providing a larger workspace for manipulating the timing of objects. For more information, see Viewing the Canvas or Timing Pane on a Second Display. Timeline Layers List The Timeline layers list mirrors the Layers list in the Project pane and displays your project objects (groups, layers, filters, behaviors, masks, and so on) and their stacking order. Keyframes applied to an object can also be displayed. In the Timeline layers list, you can reorder objects. This change is immediately reflected in the Layers list in the Project pane. You can also lock tracks to prevent further editing of those tracks and disable entire tracks to omit them from view in the Canvas. Naming Objects in the Timeline Layers List You can rename any object in Motion. This can be helpful if you use more than one version of an asset, using multiple cameras, lights, or rigs, or if you want to organize elements in named groups. Masks, shapes, particles, and other content you generate in Motion are created with generic names. Renaming them allows you to better manage and keep track of them while you work. To rename an object 1 In the Timeline layers list, double-click the name of the object. 2 Enter a new name in the editable text field. 3 Press Return or Tab. 320 Chapter 8 Using the Timeline Although Motion allows you to rename objects you import from your disk, changing the object’s name in the Timeline layers list does not modify the name of the file on disk. This allows you to use one source clip multiple times and name each instance uniquely inside Motion. Enabling Timeline Tracks To the left of each track in the Timeline layers list is an activation checkbox that turns that track on and off. When a track is turned off (disabled), it is ignored in the Canvas. Not only can you turn video or audio on and off, you can also disable or enable effects such as masks, filters, and behaviors. Activation checkbox is turned off. Disabled tracks appear dimmed. To turn visibility for an object on or off µ Click the checkbox at the left edge of the track you want to control. When the box is checked, visibility is on, and when the box is unchecked, visibility is off. Additionally, when a track is disabled, the entire track is dimmed in the Timeline. Collapsing and Expanding Groups and Layers Motion allows you to collapse and expand different parts of the Timeline layers list to show more or less data to accommodate different working styles. Layers with applied masks, filters, and other objects can be collapsed to hide those effects bars. Furthermore, whole groups can be collapsed to hide all objects contained in them. When a layer or group is collapsed in this manner, it still appears in the Canvas window. Unlike enabling or disabling tracks, collapsing and expanding the Timeline layers list is only an organizational tool to help manage the view of the Timeline. Disclosure triangle To collapse or expand a layer or group in the Timeline µ Click the disclosure triangle to the left of the layer or group name. If no disclosure triangle is present, that object cannot be collapsed or expanded any further. Chapter 8 Using the Timeline 321 Locking Timeline Tracks Occasionally, you might want to prevent changes to an item. The lock icon at the right edge of the Timeline layers list allows you to lock an object and prevent any changes from affecting that object. An object that is locked in the Timeline also appears locked in the Layers list in the Project pane. Hash marks indicate track is locked. Lock icon When an item is locked, the colored bar in the track area appears with a hash-mark pattern. Locked tracks still appear in the Canvas and are included in your final output. Although you cannot make changes to a locked object, you can still copy or duplicate that object or change the object’s layer order. To lock a track µ Click the lock icon at the right edge of the Timeline layers list. Audio-Video Links Ordinarily, objects that contain both audio and video are linked so they remain in sync. This link is represented by an icon in the Timeline layers list. Link icons Note: To display the Audio Timeline, click the Show/Hide Audio Timeline button, located in the lower-right corner of the Motion project window. Objects that are linked are always edited together in the Timeline. Operations such as cut, copy, paste, and split affect both audio and video. However, if you ever want to break that relationship so you can move or edit the audio or video without the other tagging along, you can disable that link and move either object freely. Beware that this might result in your audio and video playing out of sync. To manipulate audio and video elements separately 1 Click the link icon to the right of the object name for the video or audio element. 322 Chapter 8 Using the Timeline A red slash appears over the link for all linked layers. Red slash indicates link is broken. 2 Move, trim, or slip the audio or video bar. Before After The link icon also appears in the Layers list and the Audio list of the Project pane. Timeline View Options Various controls affect the view of the Timeline. The first three appear in the upper-right corner of the Timeline layers list. Show Masks button Show Behaviors button Show Filters button The second three appear in the lower-right corner of the Motion project window. Show Keyframe Editor button Show Timeline button Show Audio Timeline button Audio tracks and keyframes appear in separate partitions in the Timeline. When they are visible, you can resize the partitions by dragging the divider bars between them. Note: Press F6 to hide (or show) the Timing pane, regardless of whether the Timeline, Audio Timeline, or Keyframe Editor is displayed. Chapter 8 Using the Timeline 323 Zooming in the Timeline You can zoom in and out in the Timeline using the zoom/scroll control or the zoom slider. (If you use a Multi-Touch trackpad, you can pinch open to zoom in and pinch closed to zoom out.) Each method lets you zoom in and out of the Timeline horizontally, showing more or less time in the track area. As you zoom in, you can see greater detail, which lets you place objects with greater precision. Zoom/scroll control Scroller Zoom handle Zoom slider The zoom/scroll control, located at the bottom of the Timeline, is a scroll bar containing a scroller control with zoom handles on either end. The width of the zoom/scroll control represents the entire duration of your project. Drag the scroller left or right to navigate the track area. Drag a zoom handle on either end of the scroller to change the zoom scale of the track area. The zoom slider, located in the bottom-right corner of the Motion project window, zooms in and out of the track area at the position of the playhead. Drag left to zoom out. Drag right to zoom in. To zoom in or out of the Timeline Do one of the following: µ Drag the zoom handle at either end of the scroller, inward to zoom in, or outward to zoom out. If you hold down the Shift key while dragging a zoom handle, the Timeline is zoomed from the center of the visible area. µ Drag the zoom slider left to zoom out or right to zoom in. Note: To fit the Timeline in its window, press Shift-Z. Adjusting the Height of Timeline Tracks You can adjust the height of the tracks displayed in the track area. Audio and object tracks can be resized separately. However, some tracks, including filters and behaviors, cannot be resized. 324 Chapter 8 Using the Timeline To adjust the height of the tracks Do one of the following: µ Drag a row separator between two layers in the Timeline layers list up or down to modify the vertical size of the tracks. µ Choose a new size from the pop-up menu at the bottom of the Timeline layers list. Options include Mini, Small, Medium, and Large. Customizing the Track Display Motion offers several different ways to display object bars in the track area of the Timeline. You can display just the name of the object, which reduces the height of the track, allowing you to see many tracks at once. You can choose to show the name of the object plus a thumbnail image, which provides quick visual feedback about the content of the object. Or you can display a track as a filmstrip, a series of sequential thumbnails that provide visual feedback about the content of an object over time. To customize the track display 1 Choose Motion > Preferences (or press Command-Comma) to display the Preferences window. 2 Click the Appearance icon. 3 In the Timeline section, choose an item from the Timebar Display pop-up menu. Choices include Name, Name Plus Thumbnail, and Filmstrip. 4 Click the close box to close the Preferences window. The object bars are displayed according to your choice. Adding Objects to the Timeline Layers List You can add images and clips to your project by dragging them into the Timeline layers list. When you drag an image or clip from the File Browser or Media list into the Timeline layers list, you can choose whether to add the item to an existing group, add it to a new group, or have it replace an existing layer. When you add a layer to the Timeline layers list, a corresponding timebar appears in the track area. The new layer can appear above or below an existing layer; where you release the mouse button determines placement of the new layer. Chapter 8 Using the Timeline 325 Library effects (behaviors, filters, and so on) can also be dragged into the Timeline layers list. However, because effects objects are applied to media layers (images, video, audio, and so on), they cannot be grouped by themselves. Note: You can also drag images and clips to the Timeline track area. For more information, see Adding Layers to the Track Area. To add a layer to a group 1 Drag an item from the File Browser, Library, or Media list, and position the pointer over the Timeline layers list. • If you position the pointer over a group, the track is highlighted with a white border. • If you position the pointer between layers in a group, the position indicator appears. • If you position the pointer over an existing layer, the pointer becomes a curved arrow, indicating that you are about to replace the existing layer with the new media item. 2 Release the mouse button to add the layer to the group. The new layer is placed in the group below the other layers in the list, or between the layers where you dragged it. If you dragged onto an existing layer, a new layer replaces the previous one. Note: If the media item is a clip with multiple audio tracks, a drop menu will appear, allowing you to choose between mixing down the multiple tracks to stereo or importing audio tracks individually. To create a new group on top of existing groups 1 Drag an item from the File Browser, Library, or Media list into the Timeline layers list, at the upper edge of the top group. 2 When the position indicator appears, release the mouse button. A new group is created above other existing groups in the hierarchy or “stack” of groups and layers. To create a group above existing groups 1 Drag an item from the File Browser, Library, or Media list into the Timeline layers list, below the lower edge of the bottom layer. 2 Release the mouse button. A new group is created above the other existing groups in the hierarchy or “stack” of groups and layers. Note: Objects such as cameras and lights that are saved to the Library can also be dragged to the Timeline. 326 Chapter 8 Using the Timeline Managing Track Order The Timeline layers list provides you with the tools to control layer order. In 2D groups, the topmost track in the list appears on top of other layers in the Canvas. You might need to rearrange the order of objects in your project to get the effects you want. To rearrange layers in a group 1 In the Timeline layers list, drag the layer icon you want to move to a new position between the other tracks. 2 When the position indicator appears in the location you want, release the mouse button. The tracks are reordered. To move a layer from one group to another group 1 Drag the layer icon in the Timeline layers list over another group. A white border highlights the group. 2 Release the mouse button. The layer moves into the selected group and is placed above any existing layers in that group. You can also move a layer to a specific place in the new group by dragging it between existing tracks in the new group. Motion’s groups and layers are “spring-loaded,” which means that when they are collapsed, dragging an object onto them and pausing causes them to temporarily expand, like folders in the Finder. To drop a layer inside a collapsed group 1 Drag the layer onto the collapsed group in the Timeline layers list. 2 Position the pointer over the name of the group until the group expands. Chapter 8 Using the Timeline 327 3 Drag the layer to the desired location in the group, then release the mouse button. Nesting Groups and Layers To help organize large groups of layers or to create some kinds of special effects, you can place one group inside of another. This gives you the flexibility to create a group containing multiple layers and effects, and then treat that entire group as a single layer in another group. You could go further and take that “parent” group, combine it with some other groups, and treat that group as a single element, and so on. This is called nesting or grouping. There are many reasons to nest layers or groups. Doing so allows you to simplify your composite, grouping layers and effects objects (behaviors, filters, masks, and so on) into fewer containers. Nesting also allows you to manipulate a group of layers and effects objects as one. For example, you can take the individual letters of your title (each animated on its own) and use nesting to animate the group of them across the screen. You can also use nesting to create complex particle systems. You can nest multiple layers and effects objects into a group, then use the entire group as the emitter cell. For more information on particle systems, see Working with Particles. Note: You cannot use the Group command with layers that are in different groups. To place one group inside another 1 In the Timeline layers list, drag one group on top of another group. A white border highlights the destination group. 2 Release the mouse button. The first group is now nested inside the second group. You can also select the layers you want and choose Object > Group (or press Command-Shift-G). Note: There is no limit to the number of groups you can nest. To return a nested group to its original state µ Select the nested group, then choose Object > Ungroup (or press Command-Option-G). The nested group is restored into individual layers. Any group in another group can be ungrouped. To remove a group from a nest 1 Drag the group out of the existing parent group to the area beneath all existing groups. The outline of the Timeline layers list area becomes highlighted. 2 Release the mouse button. The group is restored to primary group status. 328 Chapter 8 Using the Timeline To delete a group, layer, or effects object track 1 Select the group, layer, or effects object in the Timeline layers list. 2 Press Delete. You can also Control-click an object, then choose Delete from the shortcut menu. All of the operations just described can also be performed with multiple tracks. For example, rather than just moving one object from Group 1 to Group 3, you can select two or three objects in Group 1 and move them all at once. To select more than one group, layer, or effects object track µ Command-click to select tracks in the Layers list. Adding Layers to the Track Area When you drag a new media item into the track area, a drop menu appears with options for how the new layer should be incorporated. Depending on where in the track area you drop the item, the menu displays different options. If you drag to a group or layer track in the track area, you can choose Composite, Insert, or Overwrite. An additional Exchange option becomes available when you exchange the same type of media (such as a QuickTime movie, an image sequence, or an image file). For example, the Exchange menu item is displayed when you drag a QuickTime movie onto another QuickTime movie’s track. Library effects (behaviors, filters, and so on) can also be dragged into the Timeline track area. However, because effects objects are applied to media layers (images, clips, audio, and so on), they cannot be grouped by themselves. Note: As previously discussed, you can also drag media items to the Timeline layers list. For more information, see Adding Objects to the Timeline Layers List. When you add a media item to a project via the track area, a new layer appears in the Timeline layers list. The new layer can appear above or below an existing layer; where you release the mouse button determines placement of the new layer. Chapter 8 Using the Timeline 329 Note: Objects such as cameras and lights that are saved to the Library can also be dragged to the Timeline. If you are dropping multiple items, you can choose Composite or Sequential from the drop menu. Composite places the new tracks one on top of the other. Sequential places the new tracks one after the other. Note: If you release the mouse button before the drop menu appears, the default choice of Composite is applied. This means that a new track is added above the other tracks in the Timeline, and the layer appears on top of other layers in the Canvas. Composite When you choose Composite from the drop menu, the new object is added to a new track in the active group, and all layers remain visible in the Canvas simultaneously. Before After Composite edit To composite a layer 1 Drag an item from the File Browser, Library, or Media list into the Timeline track area. As you drag, a tooltip appears at the pointer, indicating the frame number where you are located. 2 When you reach the frame where you want the new layer to start, position the pointer over the layer you want as the background, holding down the mouse button until the drop menu appears. 3 Choose Composite from the drop menu. The new layer is composited into the project. 330 Chapter 8 Using the Timeline Insert When you choose Insert from the drop menu, Motion leaves the existing layer in its track, but pushes it forward in time to make room for the new layer. For example, if you insert a five-frame movie into a group containing an existing layer, the new movie is added to the Timeline at the frame where you drop it, pushing the remaining frames of the original movie out five frames. Before After Insert edit If you insert a new item midway through an existing layer, the existing layer is split into two layers, each on its own track. To insert a layer 1 Drag an item from the File Browser, Library, or Media list over an existing layer in the Timeline track area. As you drag, a tooltip appears at the pointer, indicating the frame number where you are located. 2 Drag to the frame where you want the new layer to start, holding down the mouse button until the drop menu appears. 3 Choose Insert from the drop menu. The new layer is inserted into the track, breaking the original bar into two, and pushing the frames after the insertion further out in time. Chapter 8 Using the Timeline 331 Overwrite The Overwrite drop menu option deletes the existing layer, overwriting it with your new layer. Before After Overwrite edit If the new layer is shorter than the one currently in the group, the Overwrite option splits the duration of the existing layer and deletes only the frames where the new layer appears. Before After Overwrite edit with shorter clip To overwrite a layer 1 Drag an item from the File Browser, Library, or Media list into the Timeline track area. As you drag, a tooltip appears, indicating the frame number where you are located. 2 Drag to the frame where you want the new layer to start, holding down the mouse button until the drop menu appears. 3 Choose Overwrite from the drop menu. The frames of the new layer replace the frames of the original layer. If the original layer contained more frames than the new one, the old layer is split into two layers and the additional frames remain. Exchange The Exchange drop menu option is a variant of the Overwrite option, but instead of dropping the entire duration of the new layer into the project, the duration of the existing layer is used. 332 Chapter 8 Using the Timeline For example, if you drag a 30-second clip over a 5-second clip, choosing Exchange swaps the existing 5 seconds with the first 5 seconds of the longer clip. If you exchange a longer clip with a shorter one—for example, swapping a 10-second clip with one that lasts only 5 seconds—the first 5 seconds are replaced, and the final 5 seconds of the original remain. Important: The exchange edit transfers any filters, behaviors, and keyframes from the original layer onto the new layer. Note: You cannot use Exchange with audio files. To exchange a layer 1 Drag an item from the File Browser, Library, or Media list into the Timeline track area. As you drag, a tooltip appears, indicating the frame number where you are located. 2 Drag to the frame where you want the new layer to start, holding down the mouse button until the drop menu appears. 3 Choose Exchange from the drop menu. The old layer is replaced by the new layer. Chapter 8 Using the Timeline 333 Adding Multiple Clips to the Timeline Track Area When you drag more than one item to the Timeline, the new layers appear in their own tracks above any existing layers. This is equivalent to performing a composite edit with a single object. A drop menu lets you choose whether the additional layers should be stacked up as a composite, or whether they should appear one after another (sequentially). Before edit Composite edit Sequential edit To add multiple layers as a composite 1 Shift-click or Command-click to select multiple items in the File Browser, Library, or Media list, then drag them to the Timeline track area. 2 Drag to the frame where you want the new layers to start, holding down the mouse button until the drop menu appears. 3 Choose Composite from the drop menu. Multiple layers are added to the project at the same point in time, each new layer on its own track. Also, if you release the mouse button in the Timeline track area before the drop menu appears, a composite edit is applied by default. Alternatively, you can drop the multiple layers into the Timeline layers list. Doing so results in a composite edit. To add multiple layers sequentially 1 Shift-click or Command-click to select multiple items in the File Browser, Library, or Media list, then drag them to the Timeline track area. 334 Chapter 8 Using the Timeline 2 Drag to the frame where you want the new layers to start, holding down the mouse button until the drop menu appears. 3 Choose Sequential from the drop menu. The multiple layers are edited into the project, one after another, each on its own track. Setting Drag and Drop Preferences You can set preferences that specify where an item is dropped when you add it to the Timeline Layers list or Canvas. You can choose between items appearing at the start of the project or at the current playhead position. You can also set the delay time before a drop menu appears. To specify where new objects appear in the Timeline 1 Choose Motion > Preferences (or press Command-Comma). The Preferences window appears. 2 Click the Project icon. The Project pane opens. 3 In the Still Images & Layers section, click the appropriate button to create layers at “Current frame” or “Start of project.” Note: The Create Layers At preference applies only when you drag items to the Timeline layers list, the Layers list, or Canvas. Clips dropped on a specific frame in the Timeline track area appear at that exact location. To set the drop menu delay preference 1 Choose Motion > Preferences (or press Command-Comma). The Preferences window appears. 2 Click the General icon to view the General pane. 3 In the Interface section, adjust the Drop Menu Delay slider to set the delay pause for drop menus in Motion. Editing Objects in the Timeline During the process of designing and implementing a motion graphics project, you place objects in the Timeline and Canvas, move them forward or backward in time, and trim them to correspond with the timing of other objects in your project. Motion has several features that help you modify objects in the Timeline. You can arrange your objects to begin and end at designated frames. You can also use powerful alignment and timing tools, such as snapping and markers. You can retime objects, forcing them to play at faster or slower speeds. You can also modify keyframes in the Timeline. This section describes the various ways you can perform these actions. Chapter 8 Using the Timeline 335 Motion uses the terms move, trim, and slip to describe the different ways of editing Timeline objects. • Move: Changes the location of an object without affecting its content or duration. • Trim: Changes the duration of an object without affecting its location or content. • Slip: Changes the content of an object without affecting its location or duration. Moving Objects Move an object when you want it to begin and end at a different point in the Timeline. To move an object bar in the Timeline µ In the Timeline track area, drag an object bar left or right to move it in time. A tooltip appears, identifying the new In and Out points as you drag the bar. A delta symbol (triangle) indicates the number of frames you are moving. To move an object bar and snap it to the In and Out points of neighboring objects µ Press Shift as you drag the object bar in the Timeline. Vertical lines appear in the track, corresponding to the In and Out points of other object bars. The active object bar snaps to these lines as you drag. Moving Object Bars to the Playhead Position You can move an object bar to a new location in its track by using the Move Selected In Point or Move Selected Out Point command. This command shifts the position of the selected object bar to the current playhead position. You can also use this command to move and align multiple objects in one operation. To move an object bar to the playhead position 1 Select the object bar to move. Shift-click to select multiple object bars, if desired. 2 Place the playhead at the point in the Timeline where you want to move the object. 3 Choose Mark > Move Selected In Point (or press Shift-Left Bracket) to align the object’s beginning to the playhead, or choose Mark > Move Selected Out Point (or press Shift-Right Bracket) to align the end of the object to the playhead position. Moving Object Bars Shortcut In the Timeline, you can move an object bar forward or backward in its track a specific number of frames, or to a specific frame. 336 Chapter 8 Using the Timeline To move an object bar to a specific frame 1 In the Timeline, select the object bar (or bars) to move, then type the number of the frame (or timecode) where you want to move the object. A value field appears, displaying the number you typed. Type a number and a window appears. 2 Press Return. The object bar’s In point moves to the specified frame number. If you selected more than one object bar, they all move to the specified frame number. To move an object bar a specific number of frames Do one of the following: µ To move an object bar forward a specific number of frames, select the object, type a plus sign (+) followed by the number of the frames you want to move, then press Return. µ To move an object bar backward a specific number of frames, select the object, type a minus sign (–) followed by the number of the frames you want to move, then press Return. Trimming Objects Trim an object bar when you want to shorten or lengthen its duration in the Timeline. You can shorten or lengthen the beginning or end of the object by dragging from the left or right edge of the object bar (the In and Out points). You can also trim an object bar (change its In and Out points) by using menu commands and corresponding keyboard shortcuts. This allows you to trim multiple objects simultaneously, as well as make trimming changes on the fly while your project is playing back. Chapter 8 Using the Timeline 337 Note: Video and audio objects cannot be trimmed to be longer than the duration of their source media. To extend a video or audio object bar beyond the duration of its source media, you must change the object’s End Condition to Loop, Ping Pong, or Hold in the object’s Properties Inspector. This limitation does not apply to other objects, such as still images, cameras, text, and shapes, all of which you can extend without restriction. You can also change the effective duration of a clip without adding or removing frames by changing the clip’s playback speed. For more information on the Timing controls, see Retiming. When you trim a video object in the track area, Motion provides a visual representation of how much additional footage is available in the object’s source clip: a dimmed extension on either end of the object bar indicating that unused frames exist in the source video clip. If you see no dimmed extensions when you trim an object bar, there are no unused frames in the source clip. Consequently, you cannot lengthen the object bar (unless you change the object’s End Condition in the Properties Inspector for the clip). Unused frames To trim an object bar 1 Move the pointer to one end of the object bar you want to trim. The pointer changes to a trim pointer. 2 Drag the end of the bar until it reaches the frame where you want the object to start or end. As you drag, a tooltip indicates the new In or Out point, and the new duration of the object. To trim an object bar and snap its In or Out point to neighboring object bars µ Press Shift as you drag the edge of the object bar in the track area. Vertical lines appear in the track, corresponding to the In and Out points of other object bars. The active object bar snaps to these lines as you drag. 338 Chapter 8 Using the Timeline To change an object bar’s In or Out point 1 Select the object bar to trim. 2 Place the playhead at the frame where you want the new In or Out point. 3 Choose Mark > Mark In (or press I) to set a new In point or choose Mark > Mark Out (or press O) to set a new Out point. To trim multiple objects at the same time 1 Select the object bars to trim. 2 Place the playhead at the In or Out position you want. 3 Choose Mark > Mark In (or press I) or Mark > Mark Out (or press O) to set a new In or Out point. All selected objects are trimmed to the new point. Note: If an object has insufficient source media to complete the trim, the bar moves as far as it can toward the new point. Slipping Video Layers Slip a video layer when you want to use a different section of your source clip without changing the layer’s duration or where it appears in the Timeline. Important: Slipping is only possible after you have trimmed a video layer’s timebar. For example, if you have a shot of a door opening that is three seconds long and you want to trim it down to only one second, you can use the Slip function to select which one-second section to use: the first second as the door leaves the jamb, the next second where it is flying open, or the last second where it bangs against the wall. Before After Slip As with trimming, when you slip a video layer in the track area, Motion provides a visual representation of how much additional footage is available in the object’s source clip: a dimmed extension on either end of the object bar indicates that unused frames exist in the source video clip. You can only slip an object bar as far as the existing unused frames in the source media. To slip a video layer 1 With the pointer over the video layer’s timebar, press and hold down the Option key. Chapter 8 Using the Timeline 339 The pointer turns into the slip pointer. 2 Drag the middle part of the bar left or right. Dragging to the left replaces the frames with a section from later in the source material, while dragging to the right uses frames from earlier in the clip. Splitting Tracks Occasionally you might want to divide a single object into multiple objects, each in its own Timeline track. You might do this if you want an effect to apply to one portion of an object but not to another part. Or you might want an object to change layer order midway through, to create the effect that objects are moving in 3D space. When working in 3D, you can split camera tracks, too. Splitting tracks allows you to turn one object into multiple pieces and then manipulate each segment of the object on its own track. Before After Split To split an object bar 1 Select the object bar to split. 2 Place the playhead on the frame where you want the split to occur. 3 Choose Edit > Split. The object bar is broken into two pieces, each positioned on its own track. 340 Chapter 8 Using the Timeline Deleting Objects Removing objects from your project can be just as important as adding them. Motion provides three ways to remove an object from the Timeline. • Delete: Removes the object, leaving a gap in the Timeline. Before After Delete • Ripple Delete: Removes the object and closes up the gap left behind. Before After Ripple Delete • Cut: Deletes the object, leaving a gap in the Timeline, and copies the object to the Clipboard for later pasting. To delete an object 1 Select the object to delete. 2 Choose Edit > Delete (or press Delete). You can also Control-click the object, then choose Delete from the shortcut menu. To ripple delete an object 1 Select the object to delete. 2 Choose Edit > Ripple Delete (or press Shift-Delete). To cut an object 1 Select an object to delete. 2 Choose Edit > Cut (or press Command-X). You can also Control-click the object, then choose Cut from the shortcut menu. Copying and Pasting Objects As in other applications, in Motion you can copy and paste objects. Copying leaves an object in place and copies it to the Clipboard for later pasting. Chapter 8 Using the Timeline 341 When you paste an object, it is placed at either the position of the playhead or at the beginning of the project, based on the Create Layers At setting in the Project pane of the Motion Preferences. For more information, see Project Pane. For the purposes of simplicity, the remainder of this section assumes you have set the Create Layers At to Current Frame. The pasted object is placed in a new track at the top of the other layers in the active group. If no group is selected, the object is pasted into the group it was copied from. If it was copied from outside the current project, a new group is created. Pasting multiple objects retains the relative object and layer order of the Clipboard contents. Objects with filters, behaviors, keyframes, and other effects retain those effects when cut, copied, and pasted. You can also copy or cut filter and behavior objects from one media layer and then paste them into another media layer, effectively transferring the effect to a different media item. To copy an object to the Clipboard 1 In the Timeline layers list, select the object to copy. 2 Choose Edit > Copy (or press Command-C). To paste an object into the Timeline 1 In the Timeline layers list, select the group you to paste the object into. 2 Position the playhead at the desired time position. 3 Choose Edit > Paste (or press Command-V). Paste Special In addition to ordinary pasting, Motion lets you paste as an insert, overwrite, or exchange edit. These three commands appear in the Paste Special dialog. Paste special can also be used with selected regions in the Timeline to perform a special type of paste. For more information, see Pasting into a Region Using the Paste Special Command. • Insert into time region: Pastes the Clipboard contents into the project, pushing existing objects farther down in time. • Overwrite into time region: Pastes the Clipboard contents into the project, deleting any existing objects at the same point in time. • Exchange media with existing object: Replaces the selected object in the project with the Clipboard contents. To paste an object as an insert edit 1 Select the group to paste the object into. 2 Position the playhead at the desired time position. 3 Choose Edit > Paste Special (or press Command-Option-V). 342 Chapter 8 Using the Timeline The Paste Special dialog appears. 4 Select “Insert into time region.” 5 Click OK to confirm your edit. The object is inserted into the selected region, pushing any existing objects to the right. To paste an object as an overwrite edit 1 Select the group to paste the object into. 2 Position the playhead at the desired time position. 3 Choose Edit > Paste Special (or press Command-Option-V). The Paste Special dialog appears. 4 Select “Overwrite into time region.” 5 Click OK to confirm your edit. The object is pasted into the selected region, overwriting any existing objects. To paste an object as an exchange edit 1 Select an object from the File Browser and choose Edit > Copy (or press Command-C). Note: The “Exchange media with existing object” option is only available for an item copied from the File Browser. 2 Select the group to paste the object into. 3 Position the playhead at the desired time position. 4 Choose Edit > Paste Special (or press Command-Option-V). The Paste Special dialog appears. 5 Select “Exchange media with existing object.” 6 Click OK to confirm your edit. Displaying and Modifying Keyframes in the Timeline You can move or delete keyframes that are displayed in the Timeline. You can also display the animation curve for a selected keyframe, using the Keyframe Editor. To display keyframes in the Timeline µ In the upper-right corner of the Timeline, click the Show/Hide Keyframes button. Show/Hide Keyframes button Chapter 8 Using the Timeline 343 Note: Don’t confuse the Show/Hide Keyframes button with the Show/Hide Keyframe Editor button, located in the bottom-right corner of the Motion project window. The former turns the display of keyframes in the Timeline track area on and off; the latter expands and collapses the Keyframe Editor in the Timing pane. When the Show/Hide Keyframes button turns blue, keyframes appear below the object bars in the track area. To move a keyframe’s position in time µ Drag the keyframe to the left or right. When selected, the keyframe appears white. Moving the keyframe in the Timeline only modifies its position in time. To modify the value of a keyframe, do one of the following: • Control-click the keyframe, choose the property to adjust from the shortcut menu, enter a new value, then press Return. • Use the Keyframe Editor. This allows you to change the value and interpolation of the keyframe. For more information on the Keyframe Editor, see Keyframes and Curves. To delete a keyframe or group of selected keyframes µ Select the keyframe or keyframes to delete, then do one of the following: • Press Delete. • Control-click a selected keyframe, then choose Delete Keyframes from the shortcut menu. To delete all keyframes µ Control-click a keyframe, then choose Delete All Keyframes from the shortcut menu. To display an animation curve in the Keyframe Editor µ Control-click a keyframe on the track, then choose Show in Keyframe Editor from the shortcut menu. The Keyframe Editor appears underneath the Timeline, showing the animation curve and a new, untitled curve set. For more information on curve sets, see Filtering the Parameter List. Retiming in the Timeline You can modify the duration and playback speed of video tracks in the Timeline. 344 Chapter 8 Using the Timeline By default, a 60-frame video clip played back at 30 frames per second takes two seconds to display its 60 frames. If its In point is frame 1, its Out point is frame 60. Speed and duration are interdependent; that is, if you increase the a clip’s playback speed, its duration decreases. Playing back the same clip at 15 frames per second would take twice as long; the clip’s In point remains the same, but its Out point becomes 120. For more detailed information about retiming, see Retiming. For more information on using the Retiming behaviors, see Retiming Behaviors. Adjusting a Video Clip’s Speed Motion allows you to easily change the timing of video objects in the Timeline. To shorten the video clip’s duration and speed up its playback speed 1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold down the Option key. The pointer turns into the retime pointer. 2 Drag the Out point of the clip’s bar to the left. As you drag, the tooltip displays the clip’s speed and duration. Note: To use the retime pointer, Constant Speed must be chosen from the Time Remap pop-up menu in the Properties Inspector. When Variable Speed is chosen, the retime pointer has no effect. You cannot retime images, effects, and other non-video objects. To lengthen a video object’s duration and slow down its playback speed 1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold down the Option key. The pointer turns into the retime pointer. 2 Drag the Out point of the clip’s bar to the right. As you drag, the tooltip displays the clip’s speed and duration. Looping a Clip Another way of extending a video clip’s duration is by looping it. When a looped clip reaches its last frame, it starts playing again from its first frame. You can easily loop a clip by adjusting it in the Timeline. To loop a clip 1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold down the Option and Shift keys. The pointer turns into the loop pointer. Chapter 8 Using the Timeline 345 2 Drag the Out point of the bar to the right. First loop barrier As you drag, the tooltip displays the clip’s Out point, total Duration, and Loop Duration. A looped object displays barriers to indicate where loops begin and end in the Timeline. The first loop barrier in a clip’s bar is interactive. Moving the barrier changes the point where the clip loops. To change the loop point of a clip µ Drag the first loop barrier left or right. The end point of the clip’s loop moves as you drag. Editing in the Group Track You can perform editing tasks in the group track, even if the track is collapsed and all objects in the group are not visible in the Timeline track area. Group tracks contain two colored bars. The narrow, dark-blue upper bar edits all objects in the group as a single unit. It is labeled with the name of the group (“Group” by default). The lower group bar—taller and a lighter shade of blue—edits individual objects in the group. The lower group bar displays information about the names of individual objects in the group, as well as the number of objects that overlap in composited areas of the Timeline. Upper group layer Lower group layer Moving Objects Via the Group Track Motion lets you move objects in the Timeline via the group track. Depending on where you drag in the group track, you can move all objects, individual objects, or just those objects that overlap in time (composited objects). To move all objects in a group at once µ Drag the upper group bar left or right. All objects in the group move in time. 346 Chapter 8 Using the Timeline To move a single object in a group 1 Click an area of the lower group bar where a single object is visible. That object is highlighted in the group track. 2 Drag the section left or right to move the object in the group forward or backward in time. The selected object moves in time. To move overlapping (composited) objects in a group µ Drag an area of the lower group bar where multiple objects overlap. The composited objects move in time. Trimming Objects Via the Group Track Trimming the edges of the upper group bar trims the edges of the objects in the group. If there is only one object, trimming the upper group bar trims that object. If there is more than one object lined up with the edge of the group, trimming the group trims all of those objects. You cannot trim overlapping objects via the group track. To trim objects in a group µ Drag an end of the upper group bar right or left in the track area. All objects in the group are trimmed. Before After Disconnecting a Group Bar from Its Contents You can modify the upper group bar to be longer or shorter than the contents of the group (the lower group bar). For example, you might shorten the upper group bar to hide a section of the objects in it. Objects that extend beyond the ends of the upper group bar are not displayed in the Canvas. To change the duration of the group independently from the objects in it µ Holding down the Command key, drag either end of the upper group bar left or right. Chapter 8 Using the Timeline 347 Only the upper group bar is trimmed. Note: After you manually change the length of the upper group bar, it is no longer updated when you add or modify the objects to the group. To restore automatic updating, realign the edges of the upper group bar with the edges of the first and last clips in the group. You can use this same technique on image and video object bars, trimming them without affecting the duration of their subobjects (masks, filters, or other applied effects objects). To trim an image or video object bar without trimming its applied effects µ Press Command while you drag the edge of the image or video object bar. The image or video object bar is trimmed independently of its applied effects objects. Slipping Video Layers Via the Group Track In addition to moving and trimming, you can slip video layers in the group track. Any portion of the lower group bar that contains only one video layer can be slipped in this manner. Areas where more than one layer overlap can be slipped by Control-clicking the group bar and choosing a video layer from the shortcut menu. To slip a video layer via the group track µ Holding down the Option key, drag an area in the lower group bar where the video layer is located. If there are overlapping (composited) layers, before performing this operation, Control-click the overlapping region, then choose the video layer from the shortcut menu. Dragging right slips the video clip to an earlier portion of the source media. Dragging left slips the video clip to a later portion of the source media. Either way, the position of the clip in the Timeline and its duration are unchanged. Note: You can only slip an object if there are unused frames in the source media associated with that clip. For more information on slipping, see Slipping Video Layers. 348 Chapter 8 Using the Timeline Working in the Ruler You can perform several types of functions using the ruler area of the Timeline. You can move the playhead to a specific frame to view the project at a specific time. You can also set In and Out points so playback occurs only within the specified frames. In addition, you can select a range of frames, so you can delete, cut, or paste into the selected frames. In point Out point Playhead Navigating in the Timeline Motion provides many controls for navigating the Timeline. You can drag the playhead to “scrub” through your project as quickly or slowly as you want, or immediately jump to a specific frame. Additionally, you can jump to object boundaries, markers, and other important indicators in the Timeline. Many navigation tasks are accessible via the timing display in the toolbar. Note: The timing display can be set to show frames or timecode. To set the timing display duration to frames, choose Show Frames from the pop-up menu on the right side of the timing display (the inverted arrow). To move the playhead to a new point in time Do one of the following: µ Double-click the current frame number in the timing display, enter a new frame number, then press Return. µ Drag left or right over the current frame number in the timing display to rewind or advance. µ Drag the playhead in the Timeline ruler to the frame you want. µ Click the Timeline ruler at the frame number where you want to move the playhead. µ With the Canvas or Project pane active, enter a new frame number, then press Return to jump to that frame. µ With the Timeline active (and no objects selected), enter a new frame number, then press Return to jump to that frame. Important: When the Timeline is active and an object is selected, typing a number and pressing Return moves the selected object, rather than the playhead. Chapter 8 Using the Timeline 349 To move forward a specific number of frames µ Type a plus sign (+), then type the number of frames to move forward. Important: When the Timeline is active and an object is selected, typing a number and pressing Return moves the selected object, rather than the playhead. To move backward a specific number of frames µ Type a minus sign (–), then type the number of frames to move backward. Important: When the Timeline is active and an object is selected, typing a number and pressing Return moves the selected object, rather than the playhead. To move ahead or back in seconds, minutes, or hours 1 Double-click in the timing display. 2 Do any of the following: • To move forward in seconds, type a plus sign (+), enter the number of seconds to move forward, then enter a period. For example, to move 2 seconds ahead, enter “+2.” (with a period after the number), then press Return. To move ahead in minutes, enter two periods after the number, and to move ahead in hours, enter three periods after the number. • To move backward in seconds, enter a minus sign (–), enter the number of seconds to move backward, then enter a period. For example, to move 2 seconds backward, enter “–2.” (with a period after the number), then press Return. To move backward in minutes, enter two periods after the number, and to move backward in hours, enter three periods after the number. Important: When the Timeline is active and an object is selected, typing a number and pressing Return moves the selected object, rather than the playhead. To play back your project µ Press the Space bar. To move forward or backward one frame at a time Do one of the following: µ Click the “Go to next frame” or “Go to previous frame” button in the transport controls (to the right of the Play button). µ Choose Mark > Go to > Previous Frame or Next Frame. µ Press the Left Arrow key to move backward or the Right Arrow key to move forward. To move forward or backward ten frames at a time Do one of the following: µ Choose Mark > Go to > 10 Frames Back or 10 Frames Forward. µ Press the Shift key, then press the Left Arrow or Right Arrow key. 350 Chapter 8 Using the Timeline To jump to the beginning of the project Do one of the following: µ Click the “Go to start of project” button in the transport controls. µ Choose Mark > Go to > Project Start. µ Press Home. To jump to the end of the project Do one of the following: µ Click the “Go to end of project” button in the transport controls. µ Choose Mark > Go to > Project End. µ Press End. To jump to the next keyframe Do one of the following: µ With an animated object selected, press Shift-K. µ With an animated object selected, choose Mark > Go to > Next Keyframe. To jump to the previous keyframe Do one of the following: µ With the animated object selected, press Option-K. µ With the animated object selected, choose Mark > Go to > Previous Keyframe. For information on displaying keyframes in the Timeline, see Timeline View Options. In addition to moving to new positions in the ruler, you can navigate to objects in the Timeline, such as objects, markers, and keyframes. For more information on markers, see Adding Markers. For more information on keyframes, see Keyframes and Curves. To jump to the beginning or end of an object in the Timeline 1 Select the object to navigate to. 2 Do one of the following: • Choose Mark > Go to > Selection In Point or Selection Out Point. • Press Shift-I (for the In point) or Shift-O (for the Out point). Chapter 8 Using the Timeline 351 Defining the Play Range Ordinarily, clicking the Play button plays your project from the first frame until the last. However, you can change the play range of your project by modifying the In and Out points in the Timeline ruler. You might do this to focus on a specific section as you fine-tune your project or make other changes to it. When you finish, reset the In and Out points to the beginning and end of your project. To customize the playback In point Do one of the following: µ In the ruler, drag the In point marker from the left edge of the ruler to the frame where you want to set the In point. As you drag, the playhead also moves with your pointer. When you release the mouse button, the playhead snaps back to its previous position. µ Choose Mark > Mark Play Range In. µ In the ruler, move the playhead to the frame where you want to set the In point, then press Command-Option-I. To customize the playback Out point Do one of the following: µ In the ruler, drag the Out point marker from the right edge of the ruler to the frame where you want to set the Out point. µ Choose Mark > Mark Play Range Out. µ In the ruler, move the playhead to the frame where you want to set the Out point, then press Command-Option-O. To reset playback In and Out points Do one of the following: µ Choose Mark > Reset Play Range. µ Press Option-X. The In and Out points reset themselves to the beginning and end of the project. To navigate to playback In and Out points Do one of the following: µ Choose Mark > Go to > Play Range Start or Play Range End. µ Press Shift-Home (In point) or Shift-End (Out point). 352 Chapter 8 Using the Timeline Working with Regions Sometimes you might want to make changes to a range of frames, known as a region. You might do this to cut or copy a section of time to remove it or move it to a new position in your project. Regions need not align with object edges in the Timeline. You can create a region that begins midway through an object or one that includes empty frames beyond the edges of objects. To select a range of frames µ Holding down the Command and Option keys, drag in the Timeline ruler. A light highlighted band appears over the selected frames. To move a region µ Position the pointer over the region, then drag to move the region. Note: This operation does not move objects within the region. Chapter 8 Using the Timeline 353 To deselect tracks from a selection range µ Command-click the track to deselect. After you define a region, you can delete or ripple delete it. When you choose Ripple Delete (choose Edit > Ripple Delete), the region is deleted, and the resulting gap closes. You can cut or copy the region to move it to the Clipboard so you can paste it somewhere else. Note: Pasting a region does not paste at the current playhead location. To move a pasted region to the playhead location, press the Shift key while you drag the pasted object. As you approach the current playhead location, the object snaps into place. Pasting into a Region Using the Paste Special Command You can also paste objects into a defined region using the Paste Special command. You have three choices for how the “paste into” is performed. You can insert, pushing the existing region down in time; overwrite the existing contents of the region; or exchange the existing objects with the Clipboard contents. In all these cases, the pasted objects never exceed the duration of the region they are pasted into. To paste into a region 1 Select the object to copy to the Clipboard to be pasted. 2 Press Command-C to copy or Command-X to cut your selection. 3 Holding down the Command and Option keys, drag in the ruler to select a region. 4 Choose Edit > Paste Special. The Paste Special dialog appears. 5 Select Insert, Overwrite, or Exchange, then click OK. The Clipboard contents are pasted into the region using the method you specified. For more information on the different editing types, see Adding Layers to the Track Area. 354 Chapter 8 Using the Timeline Inserting Time You can select a region to add blank playback time into your project (which will appear black in the Canvas). For example, you might want to add some black frames between two objects, or add frames in as a placeholder for a clip you don’t yet have. This is called inserting time. To insert time into a project 1 Holding down the Command and Option keys, drag in the ruler. Drag as wide an area as you want to insert. 2 Choose Edit > Insert Time. The number of frames in the region is added to the project, beginning at the end of the selected region and pushing any existing objects further out in time. Before After If time is inserted during a range that contains a video clip, the clip is split onto two tracks and objects beyond the split point are placed in a new group. Project Duration Motion projects default to ten seconds in length. You can change this duration to match the needs of your project. To learn how to change the default project duration, see Project Properties. The project duration is displayed at the bottom of the Motion window. You can also display the duration in the timing display in the toolbar. To display the project duration in the timing display µ Choose Show Project Duration from the pop-up menu in the timing display (the downward-facing arrow). µ Click the watch icon to the left of the numbers in the timing display. To change the project duration Do one of the following: µ With the timing display set to show project duration, double-click the number, then enter a duration value. Chapter 8 Using the Timeline 355 µ With the timing display set to show project duration, drag left or right over the number to decrease or increase the duration. µ Choose Edit > Project Properties (or press Command-J), then change the value of the Duration field in the Properties Inspector. Note: Click the downward arrow to the right of the numbers in the timing display and choose Show Frames or Show Timecode to switch between viewing the project duration in frames or timecode. Adding Markers A marker is a visual reference point in the Timeline that identifies a specific frame. You can add as many markers as you want in the Timeline ruler while playing the project, or when the playhead is stopped. Use markers to: • Add a visual reference to an object. • Add a visual reference to a project marker in the mini-Timeline. • Align other objects or keyframes to an important point in time. • Add notes about a specific area in your project. • Customize effects templates for use in Final Cut Pro X. For more information about template markers, see Working with Markers in Templates. You can assign different colors to different types or markers and create marker groups. For example, use green to label all audio markers or pink to identify all temporary object markers. You can add two types of markers: project markers and object markers. Project markers are fixed to a specific frame or timecode value in the ruler. Object markers are attached to an object and move around as you move the object in the Timeline. Project marker Object marker Object marker (with duration) Project marker (with duration) 356 Chapter 8 Using the Timeline To add a project marker 1 Place the playhead at the frame where you want the marker. 2 Ensure that no objects are selected, then do one of the following: • Choose Mark > Markers > Add Marker. • Press M. • Shift-click the Timeline ruler. • Control-click Timeline ruler, then choose Add Marker from the shortcut menu. A green marker is added in the Timeline ruler. Note: You can also press Shift-M to add a project marker at the playhead position, even if an object is selected. To add an object marker 1 Place the playhead at the frame where you want the marker. 2 Select the object to add the marker to, then do one of the following: • Choose Mark > Markers > Add Marker. • Press M. A red marker is added to the bar for the selected object. In this way, you can add markers while playing your project. The markers appear at the frame where the playhead is at the time you press the M key (or choose Mark > Markers > Add Marker). Moving and Deleting Markers Timeline markers can be easily moved or deleted. To move a marker µ Drag the marker left or right to a new location. To delete a marker Do one of the following: µ Drag the marker vertically out of the area where it resides, then release the mouse button. The marker disappears with a “poof” animation. µ Double-click the marker, then click Delete Marker in the Edit Marker dialog. µ Position the playhead over the marker (select the group or object for group or object markers), then choose Mark > Markers > Delete Marker. µ Control-click the marker, then choose Delete Marker from the shortcut menu. Chapter 8 Using the Timeline 357 Deleting All Markers In addition to deleting a single marker, you can delete all markers from your project in one step. You can choose to delete all project markers or all object markers in a selected object. To delete all project markers only 1 Choose Edit > Deselect All (or press Command-Shift-A). 2 Choose Mark > Markers > Delete All Markers. To delete all markers in a given object Do one of the following: µ Select the object containing the markers you want to delete, then choose Mark > Markers > Delete All Markers. Editing Marker Information You can edit the information for a marker, including its name, starting frame, duration, and color. You can also add comments to the marker. Comments show up as a tooltip when the pointer is placed over the marker. To edit marker information 1 Open the Edit Marker dialog by doing one of the following: • Double-click a marker to display the Edit Marker dialog. • Control-click the Marker, then choose Edit Marker from the shortcut menu. The Edit Marker dialog appears. • For object markers, move the playhead to the marker, then choose Mark > Markers > Edit Marker (or press Command-Option-M). 2 Enter a name in the Name field. 358 Chapter 8 Using the Timeline Text added to the Name field for project markers appears when the pointer is over the marker. 3 Enter a value or drag in the Start field. The marker moves to the frame number you enter (or timecode number, if the timing display is set to show timecode). 4 Enter a value or drag in the Duration field to specify the range of frames (or timecode) for the marker. 5 Enter text in the Comment field. This comment appears as a tooltip when you pause the pointer over project markers. 6 Click a Color button to set the marker color. Project markers have an additional field called Type. For more information, see Adding Template Markers. 7 Click OK to accept your changes. Navigating with Markers You can jump from your current playhead position to a nearby project marker forward or backward. To jump to the next marker µ Control-click the Timeline ruler, then choose Next Marker from the shortcut menu. The playhead jumps to the starting position of the next project marker. You can also choose Mark > Go To > Next Marker or press Command–Option–Right Arrow. To jump to the previous marker µ Control-click the Timeline ruler, then choose Previous Marker from the shortcut menu. The playhead jumps to the starting position of the previous project marker. You can also choose Mark > Go To > Previous Marker or press Command–Option–Left Arrow. Chapter 8 Using the Timeline 359 You can also navigate to adjacent markers via the Edit Marker dialog. In that case, the dialog remains open and the contents are replaced with the information for the next marker. Go to previous marker Go to next marker Mini-Timeline The mini-Timeline lies just above the transport controls and below the Canvas. This control provides an at-a-glance look at where selected objects fit into your overall project. The mini-Timeline also has a playhead to indicate which frame you are viewing as well as In point and Out point markers to identify the play range. The length of the mini-Timeline represents the entire duration of the project. In point marker Playhead Selected object Out point marker You can drag the playhead through the mini-Timeline to scrub your project, or to jump to a specific point in time. In the mini-Timeline, you can also change the play range of the entire project as well as move, trim, or slip a selected object. Editing in the Mini-Timeline You can perform many nonlinear editing functions in the mini-Timeline. You can drag clips or images from the File Browser, or objects from the Library (such as replicators or shapes) to the mini-Timeline. You can also move, trim, and slip objects to change which portion of the object appears at which point in time. For more information on editing functions such as Move, Trim, and Slip, see Editing Objects in the Timeline. To add an object to the mini-Timeline 1 Drag the item from the File Browser to the mini-Timeline. As you drag, a tooltip appears to indicate the frame where your edit will take place. 2 When you reach the desired frame, release the mouse button. The object is added to the project beginning at that frame. 360 Chapter 8 Using the Timeline You can also add multiple objects to the mini-Timeline at once. You can choose to add the objects sequentially (one after another) or as a composite (all at the same point in time). Tip: If the Timeline contains project markers, you can snap the imported object to a marker. Drag the imported item over the mini-Timeline, then release the mouse button when a black bar appears at the snap point. The layer’s In point is aligned to the project marker. To add multiple objects to the mini-Timeline 1 Shift-click to select multiple items in the File Browser, then drag them onto the mini-Timeline. As you drag, a tooltip appears to indicate the frame where your edit will take place. 2 Continuing to hold down the mouse button, drag to the desired frame. A drop menu appears. 3 Choose an edit type from the drop menu, then release the mouse button. Depending on the item dragged to the Timeline, up to four drop options are available. For more information on the Timeline drop menu, see Adding Layers to the Track Area. To move an object in time 1 In the Layers list, Timeline Layers list, or Canvas, select the object you want to move. The object appears in the mini-Timeline. 2 In the mini-Timeline, drag the object to the left or right to reposition it in time. A tooltip appears to indicate the new In and Out point of the object, as well as the amount of change from the previous position. 3 When you reach the position you want, release the mouse button. To shorten or lengthen (trim) an object 1 Select the object to display it in the mini-Timeline. 2 Position the pointer over the beginning or ending edge of the blue bar in the mini-Timeline. Chapter 8 Using the Timeline 361 The pointer changes to a trim pointer. 3 Drag the edge of the bar to change its duration. A tooltip appears to indicate the new In or Out point and the amount of change that your edit is causing. You cannot trim an object to be longer than the amount of frames available in the corresponding media file unless its End Condition is set to Hold, Loop, or Ping Pong in the Timing controls of the Properties Inspector. To slip a video clip (or other multi-frame object) in the mini-Timeline 1 Select the multi-frame object you want to modify. 2 Position the pointer over the body of the clip in the mini-Timeline and hold down the Option key. The pointer changes to a slip pointer. 3 Continuing to hold down the Option key, drag left or right in the mini-Timeline to use a later or earlier part of the clip. A tooltip appears to indicate the new In and Out points. Note: You cannot slip a clip if it has not been trimmed first. For more information, see Slipping Video Layers. To snap the playhead to a project marker in the mini-Timeline µ Press Shift and drag the playhead in the mini-Timeline. The playhead snaps to the frame that contains a project marker. 362 Chapter 8 Using the Timeline Behaviors are sophisticated animation and simulation effects that you can apply to your project and adjust using a simple set of graphical controls. Behaviors can be used to create basic motion effects or complex simulated interactions between multiple objects. You can add behaviors to objects (cameras, lights, image layers, or groups) or properties in a project to create animated effects without needing to create or adjust keyframes. Drag a behavior onto an object, and the object is animated based on the type of behavior you applied. You can modify and customize these effects by adjusting behavior parameters in the HUD or in the Behaviors Inspector. This chapter covers the following: • Behavior Concepts (p. 363) • Browsing for Behaviors (p. 367) • Applying and Removing Behaviors (p. 368) • Modifying Behaviors (p. 375) • Working with Behaviors (p. 378) • Changing the Timing of Behaviors (p. 383) • Animating Behavior Parameters (p. 390) • Saving and Sharing Custom Behaviors (p. 392) • Basic Motion Behaviors (p. 395) • Parameter Behaviors (p. 419) • Retiming Behaviors (p. 444) • Simulation Behaviors (p. 450) • Additional Behaviors (p. 476) Behavior Concepts Behaviors are designed to be flexible and can be combined with one another to create all kinds of effects. Using behaviors, motion graphics design becomes interactive, allowing you to create complex motion effects and simulated object interactions very quickly. 363 Using Behaviors 9 Behaviors can also be used to animate the parameters of nearly any particle system emitter, shape, mask, replicator, filter, generator, camera, or light. This allows you to create animated backgrounds, dynamic filter effects, interesting camera and lighting effects, and incredibly complex particle systems, all using a few simple controls. Motion Tracking behaviors serve a different purpose than other behaviors. Rather than immediately animating an object to which it is applied, a tracking behavior analyzes the object’s motion, or the motion in a video clip. This analyzed motion can be used to stabilize a shaky clip, or match the movement of an object to the movement in the analyzed clip. For more information, see Motion Tracking. There are 11 kinds of behaviors in Motion. • Audio behaviors are applied to audio files to create simple audio effects, such as fade-ins and fade-outs, pans, and fly-bys. There is also a separate Audio parameter behavior that can be applied to the parameters of nearly any object. For more information, see Audio Behaviors. • Basic Motion behaviors are among the simplest behaviors. They animate specific parameters of the object to which they are applied. Some Basic Motion behaviors affect position while others affect scale or rotation. Examples include Fade In/Fade Out, Spin, and Throw. All Basic Motion behaviors can be applied to images and clips, particle emitters, shapes, text, and so on. Most of the Basic Motion behaviors can be applied to cameras and lights. For more information, see Basic Motion Behaviors • Camera behaviors are specifically designed to be applied to a camera in a 3D project and create basic camera motions such as dolly moves, panning, and zooming. For more information, see Camera Behaviors. • Motion Tracking behaviors perform multiple tasks. Although all tracking behaviors analyze the motion present in a clip, the application of that data varies depending on the specific behavior. For example, the Stabilize behavior stabilizes movement in a clip created by camera shake. The Match Move behavior analyzes the motion in an object (such as a clip) and applies that motion to another object to integrate it with the tracking source. For more information, see Motion Tracking Behaviors. • A Parameter behavior can be applied to a specific parameter of any object (including filters and behaviors) and the effect is limited to just that parameter. The same Parameter behavior can be applied to different parameters, resulting in different effects. For example, you can apply the Oscillate behavior to the opacity of text to make the letters fade in and out, or you can apply the Oscillate behavior to the rotation of a shape to make the shape rock back and forth. You can also apply Parameter behaviors to filter parameters, generator parameters, the parameters of particle systems and replicators, or even the parameters of other behaviors. Examples include Oscillate, Randomize, and Reverse. Most Parameter behaviors can be applied to cameras and lights. For more information, see Parameter Behaviors. 364 Chapter 9 Using Behaviors • Particles behaviors are specifically designed to be applied to a particle emitter or cells in particle systems. These behaviors affect how individual particles are animated over the duration of their life. For more information, see Using Particles Behaviors. • Replicator behaviors are specifically designed to be applied to a replicator or cells in the replicator. These behaviors affect how the replicator cell parameters are animated over their pattern. For example, you can create an animation that travels over the replicator pattern in which each cell goes from 0 percent opacity to 100 percent. For more information, see Using the Sequence Replicator Behavior. • Retiming behaviors are applied to footage and cloned layers (or groups) to create hold frames, reverse the footage, change the speed of the footage, create strobe frames or stutter, or scrub the footage. These behaviors are applied to the footage objects in the Layers list. For more information, see Retiming Behaviors. • Shape behaviors are specifically designed to be applied to a shape or mask. Shape behaviors affect the individual vertices of a shape or mask. For example, applying the Randomize behavior randomly animates the control points (or tangents, or both) on the shape. For more information, see Shape Behaviors. • Simulation behaviors perform one of two tasks. Some Simulation behaviors, such as Gravity, animate the parameters of an object in a way that simulates a real-world phenomenon. Other Simulation behaviors, such as Attractor and Repel, affect the parameters of objects surrounding the object to which they’re applied. These behaviors allow you to create some very sophisticated interactions among multiple objects in your project with a minimum of adjustments. As with the Basic Motion behaviors, Simulation behaviors also affect specific object parameters. Examples include Attractor, Gravity, and Repel. Simulation behaviors can be applied to cameras and lights. For more information, see Simulation Behaviors. • Text behaviors animate text parameters to create various animated effects. Examples include Type On, which reveals text letter by letter. For more information, see Text Animation and Text Sequence Behaviors and Sequence Text Behavior. For an introduction to using and applying behaviors, see Applying and Removing Behaviors. For more detailed information on how to manipulate behaviors in a project, see Working with Behaviors. Note: Audio, Camera, Motion Tracking, Particles, Replicator, Shape, and Text behaviors are discussed in their respective chapters. Chapter 9 Using Behaviors 365 Behaviors Versus Keyframes It’s important to understand that behaviors do not add keyframes to the objects or parameters to which they’re applied. Instead, behaviors generate a range of values that are then applied to an object’s parameters, animating over the duration of the behavior. Changing the parameters of a behavior alters the range of values that behavior generates. Keyframes apply specific values to a parameter. When you apply two or more keyframes with different values to a parameter, you animate that parameter from the first keyframed value to the last. By design, behaviors are most useful for creating generalized, ongoing motion effects. They’re also extremely useful for creating animated effects that might be too complex or time-consuming to keyframe manually. Keyframing, in turn, might be more useful for creating specific animated effects where the parameter you’re adjusting is required to hit a specific value at a specific time. For more information on using keyframes, see Keyframes and Curves. The animation created by behaviors can be converted into keyframes. For more information, see Converting Behaviors to Keyframes. 366 Chapter 9 Using Behaviors Browsing for Behaviors All available behaviors appear in the Library. Selecting the Behaviors category in the category pane of the sidebar reveals the behavior subcategories (text behaviors have two categories). Behaviors in the selected subcategory Library categories Behavior subcategories Selecting a subcategory reveals all behaviors of that type in the Library stack. Chapter 9 Using Behaviors 367 When you select a behavior in the Library stack, a short description and preview of the behavior appear in the preview area. Note: To help you understand how each behavior works, the animated behavior previews provide hints in the form of animation paths and color coding. Although most previews are self-explanatory, the Parameter previews show before/after examples of the behavior’s effect on an animated object, with the gear graphic turning red to show the object after the behavior takes effect. For Simulation behaviors, the red gear graphic identifies the object in a group with the applied selected behavior. Applying and Removing Behaviors Behaviors are applied to objects in one of the following ways: • Dragging a behavior to an object in the Canvas, Layers list, or Timeline To apply a behavior to an object in the Timeline, drag the behavior to the object in the Timeline layers list or the Timeline track area. Note: It is usually easier to drag a behavior to a camera or light in the Layers list or Timeline than to such objects in the Canvas. • Selecting an object, selecting a behavior in the Library, and then clicking the Apply button in the preview area • Selecting an object, and then choosing a behavior from the Add Behavior pop-up menu in the toolbar • Clicking the pop-up menu arrow at the right of a parameter's row in the Inspector, then choosing a Parameter behavior from the menu • Control-clicking a parameter of an object (including the parameters of other behaviors), and choosing a Parameter behavior from the shortcut menu Behaviors are removed by selecting the behavior in the Canvas, Layers list, Timeline, or Inspector and pressing Delete. For detailed information about applying and removing behaviors, see Applying Behaviors and Removing Behaviors. 368 Chapter 9 Using Behaviors Where Behaviors Appear When you apply a behavior to an object, it appears nested underneath that object in the Layers list and in the Timeline. Nested behavior as it appears in the Layers list Behavior icon A behavior icon (a gear) also appears to the right of the object name in the Layers list and Timeline. Clicking this icon enables and disables all behaviors applied to that object. The actual parameters that let you adjust the attributes of a behavior appear in the Behaviors Inspector. New behaviors you apply to an object appear above behaviors applied previously. Behaviors can be hidden from view in the Layers list using the Show/Hide Behaviors button in the lower-right corner of the Layers list. For more information, see Hiding and Showing Effects. When any behavior is applied to an object in your project, a behavior icon (a gear) appears in the row of the affected parameter in the Properties, Behaviors, or Filters Inspector. This icon shows you that a behavior is influencing that parameter. Animation Paths When some behaviors are applied to an object, an animation path appears and displays the projected path of the object over time. Consider this path a “preview” of the animation created by the behavior. Unlike animation paths created using keyframes or the path created by the Motion Path behavior, animation paths for behaviors cannot be edited. To show or hide all types of paths, use the View pop-up menu above the Canvas. Chapter 9 Using Behaviors 369 Behavior Effects in the Keyframe Editor If you open the Keyframe Editor and look at a parameter affected by a behavior, you see a noneditable curve that represents the behavior’s effect on that parameter. The noneditable curve (in this example, opacity channel animation that corresponds to the Fade In/Fade Out behavior) appears in addition to that parameter’s editable curve, which can be used in combination to keyframe that parameter. Noneditable curve Editable curve Note: Use the pop-up menu above the Keyframe Editor to select which parameters are displayed and to create curve sets. For more information on curve sets, see Custom Parameter Sets. For more information on combining behaviors and keyframes, see Combining Behaviors with Keyframes. Applying Behaviors You can apply behaviors to objects in the Canvas, Layers list, or Timeline. Some behaviors animate specific parameters of the layer to which they’re applied. For example, the Throw behavior affects only an object’s Position parameter, and the Grow/Shrink behavior affects only an object’s Scale parameter. Other behaviors animate the parameters of layers that surround the layer to which the behavior is applied. For example, the Attractor behavior causes other layers to move toward the affected layer by animating each of their Position parameters. Important: Text, Particles, Replicator, Audio, Shape, and Camera behaviors should only be applied to their namesake objects. Parameter behaviors can be applied to a parameter of an object (such as position). For more information, see Applying Parameter Behaviors. You can also apply behaviors to groups in the Layers list or Timeline. Depending on the applied behavior, all objects nested in that group are affected in one of two ways: as if they were a single object or as individual elements. You can often change this result by adjusting the Affect or Affect Subobjects parameter in the Behaviors Inspector. 370 Chapter 9 Using Behaviors Tip: If you do not see the expected result when applying behaviors to objects, try turning the Affect Subobjects parameter on or off or choosing a different option from the Affect pop-up menu. These parameters determine whether the entire group or its components (such as the child objects nested in that group) are affected by the behavior and how an object interacts with surrounding objects, respectively. The Affect Subobjects checkbox only appears in the Inspector when the Throw and Spin behaviors, or the Simulation behaviors, are applied to a group or object that contains multiple objects, such as a particle emitter or text. To apply a behavior to an object Do one of the following: µ Drag a behavior from the Library to an appropriate object in the Canvas, Layers list, or Timeline. To apply a behavior to an object in the Timeline, drag the behavior to the object in the Timeline layers list or the Timeline track area. Note: It is usually easier to drag a behavior to a camera or light in the Layers list or Timeline than to the object in the Canvas. An advantage to applying behaviors from the Library is the ability to preview the animation created by the behavior in the Library preview area. µ Select an object in the Canvas, Layers list, or Timeline, then select a behavior from the Library stack and click Apply in the preview area. Apply button µ Select an object in the Canvas, Layers list, or Timeline, then choose a behavior from the Add Behavior pop-up menu in the toolbar. To apply a behavior to multiple objects 1 Select all objects to apply the behavior to. In the Layers list, Canvas, or Timeline, Shift-click to select a contiguous set of objects, or Command-click to select individual, noncontiguous objects. Chapter 9 Using Behaviors 371 2 Do one of the following: • In the toolbar, choose a behavior from the Add Behavior pop-up menu. • Select a behavior in the Library, then click Apply in the preview area. Important: Not all behaviors apply motion to an object. Some behaviors, such as Throw, require you to set the throw velocity (in the HUD or in the Inspector) before the object is “thrown.” Other behaviors, such as Orbit Around, require a source object to act as the central object for other objects to move around. When a behavior is applied to an object, the object parameters affected by that behavior are animated based on the behavior’s default settings. For example, if you apply the Gravity behavior to an object in the Canvas, that object’s position is animated and it moves down, according to the Gravity behavior’s default setting. Default Behavior Duration In most cases, a behavior’s duration is the Timeline duration of the object to which it is applied. For example, if you apply a Spin behavior to an object that begins at frame 20 and ends at frame 300, the Spin behavior’s duration is also frame 20 to frame 300. For information on trimming the duration of a behavior, see Trimming Behaviors. Removing Behaviors Because behaviors don’t add keyframes, removing a behavior instantly eliminates its animated effect. All types of behaviors are removed in the same way. To remove a behavior from an object 1 Select a behavior in the Layers list, Timeline, Behaviors Inspector, or pop-up menu in the title bar of the HUD. 2 Do one of the following: • Choose Edit > Delete. • Control-click the behavior in the Layers list or Timeline, then choose Delete from the shortcut menu. • Press Delete. Applying Parameter Behaviors Although all behaviors affect parameters of the objects to which they’re applied, Parameter behaviors are applied to specific parameters of your choosing. This includes the parameters of filters, emitters and cells in particle systems, shapes, text, and so on. You can even apply Parameter behaviors to the parameters of other behaviors applied to an object. 372 Chapter 9 Using Behaviors Here’s a simple comparison of a behavior and a Parameter behavior. A Throw behavior is applied to a text layer and the text travels across the Canvas. The Throw behavior affects the Position parameter of the text layer. You can accomplish a similar effect by applying a Ramp parameter behavior to the Position parameter, but the Ramp behavior can also be applied to any other parameter such as Tracking or Opacity. A Parameter behavior’s effect on an object depends on the parameter to which it is applied. For example, if you apply the Randomize parameter behavior to a particle emitter’s Position parameter, the emitter drifts randomly around the screen when the project plays. Applying the Randomize parameter behavior to a shape’s Scale parameter makes the shape randomly grow and shrink. Important: Although you can apply a Parameter behavior to an object, the applied behavior does not affect the object until you select a parameter to apply the Parameter behavior to. A more direct way to apply a Parameter behavior is by using the shortcut menu in the Inspector. To apply a Parameter behavior to a specific parameter of an object 1 Select the object to apply the Parameter behavior to. 2 Do one of the following: • Control-click a parameter’s name in the Inspector, choose Add Parameter Behavior, then choose an item from the submenu. • Click the parameter’s Animation menu, choose Add Parameter Behavior, then choose an item from the submenu. • Control-click a parameter in the HUD, choose Add Parameter Behavior from the shortcut menu, then choose an item from the submenu. • Control-click a parameter in the Keyframe Editor, then choose a Parameter behavior from the shortcut menu. When you apply a Parameter behavior, the Behaviors Inspector opens. Note: Use the pop-up menu above the Keyframe Editor to choose the parameters you want displayed in the Keyframe Editor. For more information, see Filtering the Parameter List. To apply a Parameter behavior to an object 1 Do one of the following: • Drag a Parameter behavior from the Library to an appropriate object in the Canvas, Layers list, or Timeline. Note: It is usually easier to drag a behavior to a camera or light in the Layers list or Timeline than to the object in the Canvas. • Select an object in the Canvas, Layers list, or Timeline, open the Add Behavior pop-up menu in the toolbar, then choose an item from the Parameter submenu. Chapter 9 Using Behaviors 373 The behavior is applied to the object, but no parameter is assigned to the behavior. 2 To assign a specific parameter to the Parameter behavior, do one of the following: • Select the Parameter behavior, then choose a parameter from the Apply To pop-up menu in the HUD. • Select the Parameter behavior, then choose a Parameter behavior from the Apply To pop-up menu in the Behaviors Inspector. The parameter to which the behavior is applied appears in the Apply To text field. Note: If you save a Parameter behavior as a favorite, the parameter assignment is saved with the rest of that behavior’s settings. As a result, the saved behavior will affect the same parameters of any object it is applied to. Where Parameter Behaviors Appear Like other behaviors, Parameter behaviors appear nested underneath the objects they’re applied to in the Layers list and Timeline, along with any other behaviors applied to that object. Note: Although Parameter behaviors appear nested under objects in the Layers list, each Parameter behavior is applied to a single parameter of an object, and not the object itself. The Oscillate parameter behavior icon in the following screenshot includes an image similar to a funnel. The funnel represents the “channeling” of individual parameters. The same icon is used for the representation of Parameter behaviors in the Timeline. Control-clicking a parameter’s name in the Inspector, or clicking the pop-up menu at the right of a parameter opens the Animation menu. The Animation menu displays the names of behaviors applied to that parameter. Choosing a behavior opens the Behaviors Inspector. 374 Chapter 9 Using Behaviors As with all other behaviors, when a Parameter behavior is applied to an object in your project, a behavior icon (a gear) appears over the Keyframe button of the affected parameter in the Properties, Behaviors, or Filters Inspector where it is applied. Reassigning a Parameter Behavior to Another Parameter After you apply a Parameter behavior, it remains assigned to that parameter unless you reassign it. This is possible using the Apply To pop-up menu, located at the bottom of the Parameter behavior controls in the HUD or Behaviors Inspector. The Apply To pop-up menu displays all properties available for the object the behavior is applied to. If an object has other behaviors or filters applied to it, those parameters also appear in submenus of the Apply To pop-up menu. To reassign a Parameter behavior to another parameter in the HUD 1 In the Layers list, Timeline, or Behaviors Inspector, select the Parameter behavior to reassign. 2 In the HUD, choose a new parameter from the Apply To pop-up menu. The Parameter behavior is applied to the newly chosen parameter and the Apply To field is updated to reflect the new assignment. In the Inspector, a behavior icon (a gear) now appears next to the new parameter. To reassign a Parameter behavior to another parameter in the Inspector 1 Select the object containing the Parameter behavior to reassign. 2 In the Behaviors Inspector, choose a new parameter from the Apply To pop-up menu. Modifying Behaviors Each behavior has a subset (or sometimes a complete set) of parameters that appear in the HUD. In addition, all behavior parameters appear in the Behaviors Inspector.The HUD and the Behaviors Inspector reference the same parameters, so changing a parameter in one changes the same parameter in the other. Chapter 9 Using Behaviors 375 Modifying Parameters in the HUD In general, the parameters that appear in the HUD are the most essential for modifying that behavior’s effect. Frequently, the controls available in a behavior’s HUD are also more descriptive and easier to use than those in the Behaviors Inspector, although the Behaviors Inspector might contain more controls. For example, compare the controls for the Fade In/Fade Out behavior in the Behaviors Inspector to those available in the HUD: As you can see, the visual controls in the HUD consolidate two of the parameters available in the Behaviors Inspector into a single, graphical control. To display the HUD for a behavior 1 Do one of the following: • Select the behavior to modify in the Layers list, Timeline, or Behaviors Inspector. • Control-click an object in the Canvas, then choose a behavior from the Behaviors submenu in the shortcut menu. Note: If the HUD doesn’t appear, choose Window > Show HUD (or press F7 or D). 2 Make adjustments to the behavior using the controls in the HUD. 376 Chapter 9 Using Behaviors To cycle through the HUDs of an object Do one of the following: µ Click the disclosure triangle in the title bar of the HUD (to the right of the title) to open a pop-up menu that displays all behaviors and filters applied to that object. Choose an item from this list to display its HUD. Click to open pop-up menu listing other applied behaviors. µ Select an object in the Canvas, then press D to cycle forward through all available HUDs for that object. To cycle in reverse, press Shift-D. Modifying Parameters in the Behaviors Inspector Unlike the HUD, the Behaviors Inspector displays all available parameters (some parameters remain hidden depending on settings chosen for other parameters). To display the Behaviors Inspector 1 Select an object with an applied behavior. 2 In the Inspector, open the Behaviors pane. Applied behaviors appear within. Modifying Multiple Identical Behaviors Simultaneously In most cases, you can modify the parameters of most behaviors of the same type at the same time. Note: For simultaneous adjustment to work, the selected behaviors must be the same (such as two Throw behaviors). To edit multiple behaviors at the same time 1 In the Layers list or the Behaviors Inspector, Command-click to select the behaviors (of the same type) to modify. 2 Do one of the following: • In the HUD titled “Multiple Selected,” adjust the parameters. • In the Behaviors Inspector, adjust the parameters. Only behaviors that apply are available. When you adjust the parameters, all selected behaviors are modified. Chapter 9 Using Behaviors 377 Working with Behaviors This section describes how to enable, rename, lock, duplicate, move, and reorganize behaviors in your project. These procedures apply to every type of behavior. Behaviors Controls in the Layers List and Timeline When you apply a behavior to an object, the behavior appears in three places—the Layers list, the Timeline, and the Behaviors Inspector. Although the Behaviors Inspector contains all editable parameters for a behavior that’s been applied to an object, the Layers list and Timeline have several controls for each behavior: Activation checkbox: Turns each behavior on or off. Behaviors that are turned off have no effect on the object to which they’re applied. Name: Double-click this field to rename the behavior. Lock: Click the lock icon to lock or unlock a behavior. You cannot modify the parameters of a locked behavior. Activation checkbox Enable/disable behaviors Lock Enable/disable behaviors: A behavior icon (a gear) appears to the right of the name of objects with applied behaviors. Clicking this icon turns all behaviors applied to the object on and off. Note: Control-clicking the behavior icon (the gear) opens a shortcut menu that displays behaviors applied to that object. Choose a behavior from this menu to display it in the Inspector. Show/Hide Behaviors button: Located at the bottom of the Layers list and Timeline, this button lets you show or hide all behaviors. This button neither enables nor disables behaviors applied to objects in your project; it only controls their visibility. Show/Hide Behaviors button 378 Chapter 9 Using Behaviors Copying, Pasting, and Moving Behaviors After you have added behaviors to an object, there are a number of ways you can copy and move them among the other items in the Timeline or Layers list. Behaviors can be cut, copied, and pasted like any other item in Motion. When you cut or copy a behavior in the Timeline or Layers list, you also copy the current states of that behavior’s parameters. To cut or copy a behavior 1 Select a behavior. 2 Do one of the following: • Choose Edit > Cut (or press Command-X) to remove the behavior and place it on the Clipboard. • Choose Edit > Copy (or press Command-C) to leave the behavior there and copy it to the Clipboard. To paste a behavior 1 Select an object. 2 Choose Edit > Paste (or press Command-V). The cut or copied behavior is applied to the selected object, with all its parameter settings intact. You can also move a behavior from one object to another in the Layers list or Timeline by dragging it to a new position. To transfer a behavior from one object to another µ In the Layers list or Timeline, drag a behavior from one object and drop it on top of another. Chapter 9 Using Behaviors 379 Note: If you move a Parameter behavior to another object, it is applied to the same parameter it affected in the previous object—as long as the corresponding parameter exists. If the parameter does not exist, the parameter assignment (Apply To field) is set to none. Dragging a behavior from one object to another You can also duplicate a behavior in place. To duplicate a behavior 1 Select the behavior to duplicate. 2 Do one of the following: • Choose Edit > Duplicate (or press Command-D). • Control-click the behavior to duplicate, then choose Duplicate from the shortcut menu. You can also duplicate a behavior and apply the duplicate to another object in the Layers list or Timeline. To drag a duplicate of a behavior to another object µ Option-drag the behavior to the object to apply the duplicated behavior to. The duplicated behavior is applied to the second object, and the original behavior is left in its original location. When you duplicate an object, you also duplicate all behaviors applied to it. This way, if you’re creating a project with a number of objects that use the same behavior, you can apply that behavior to the first instance of that object, and then duplicate that object as many times as necessary. Applying Multiple Behaviors to an Object There is no limit to the number of behaviors you can add to an object. When multiple behaviors are applied to a single object, they all work together to create a final animated effect. 380 Chapter 9 Using Behaviors In general, each behavior applies a value to a specific parameter. The values generated by all behaviors that affect the same parameters are combined to create the end result. For example, if you apply the Throw, Spin, and Gravity behaviors to a single object, the Throw and Gravity behaviors combine to affect the position of the object. The Spin behavior affects the rotation of the object. Behavior Order of Operations When combining different behavior types (such as Parameter and Simulation behaviors), or combining behaviors and keyframes, it is important to understand the behaviors’ order of operations. Motion evaluates behaviors and keyframes in the following order: Keyframes > Simulation behaviors > All other behaviors Parameter behaviors are applied in the order in which they are added, from the bottom of the Layers list up (like the order of filters and compositing order). For more information, see Reordering Behaviors. Important: The order of operation is always in effect—regardless of the order in which the behaviors are applied or the keyframes are added to a layer or group. Use the following guidelines for animating layers with multiple behaviors and/or keyframes: • When you animate a layer with keyframes and then apply a behavior, the effect of the keyframes is evaluated first. For example, if you animate the Rotation parameter of a layer using keyframes and then apply a Rotational Drag (Simulation) behavior to the layer, the Rotational Drag behavior slows the rotation of the layer. Motion is evaluating the keyframed rotation, and then applying the drag (from the Simulation behavior) to the keyframed animation. • When you animate a layer with any behavior, and then add keyframes, the effect of the keyframes is evaluated first. For example, if you animate a layer so it rotates in a clockwise direction using the Spin behavior and then keyframe the Rotation parameter so the layer rotates in a counterclockwise direction, the layer rotates in the counterclockwise direction. Although the keyframes are added to the project after the Spin behavior, Motion evaluates the keyframes first. • When you animate a layer with a Simulation behavior and then apply another behavior, the effect of the Simulation behavior is evaluated first. For example, if you animate a layer using the Gravity (Simulation) behavior and then apply a Throw (Basic Motion) behavior, the layer moves downward as specified by the Gravity behavior and in the direction specified in the Throw behavior. Motion is applying the value of the Throw behavior to the value of the Gravity behavior, creating the end result. Chapter 9 Using Behaviors 381 • When you animate a layer with a behavior and then apply a Simulation behavior, the Simulation behavior is evaluated before the first behavior (and might have no effect). For example, if you animate the Rotation parameter of a layer using the Oscillate (Parameter) behavior and then apply a Rotational Drag (Simulation) behavior to the layer, the layer oscillates, but is not slowed by the Rotational Drag behavior. Motion is evaluating the Simulation behavior (Rotational Drag) before the Parameter behavior (Oscillate), applying the drag to a 0 value. There is no data for the Simulation behavior to affect. Note: Although the Spin behavior appears in the Basic Motion category, Spin is treated as a Simulation behavior in Motion’s order of operations. For information on combining keyframes with behaviors, see Combining Behaviors with Keyframes. Reordering Behaviors When you apply multiple behaviors to a single object, the behaviors appear nested beneath that object in the Timeline and Layers list. All behaviors combine according to a predetermined order of operations regardless of their order in the Layers list, so reordering them has no effect on the resulting animations that are created, with a few exceptions: • The Stop behavior suspends the activity of all behaviors beneath it that affect the same parameter. The Stop behavior has no effect on behaviors above it in the Layers list. • Parameter behaviors are applied in the order that they are added, from the bottom to the top in the Layers list, so you need to think about how you are building the operation. For example, imagine a circle shape with an X Position of 50 in the Canvas. If you apply a Rate Parameter behavior with a positive Rate value to the X Position of the circle, the circle will move to the right from its starting X Position of 50. If you then apply a Negate Parameter behavior to the circle’s X Position, the circle will start at –50 in the Canvas and move to the left. The effect you see in the Canvas is the result of each behavior acting upon the previously applied behavior: an X Position value of 50 is modified by the Rate behavior (in a positive direction), which is in turn modified by the Negate behavior, changing the X Position and rate to negative values. If you swap the order of Rate and Negate in the Layers list, Negate is processed first. The circle’s X Position value of 50 is turned into –50. This is then passed as the input to Rate, which moves the circle in a positive direction. Now the circle begins at the –50 X Position in the Canvas, and moves to the right. To reorder a behavior 1 Drag the behavior up or down in the list of nested behaviors applied to the same object. 382 Chapter 9 Using Behaviors A position indicator shows where the behavior appears when you release the mouse button. Position indicator shows where you are moving the behavior. 2 When the position indicator is in the correct position, release the mouse button. Note: Motion has a specific order of operations for keyframes and behaviors. For more information, see Behavior Order of Operations. Changing the Timing of Behaviors You can change a behavior’s timing to control when it starts, how long it lasts, and when it stops. There are several ways to do this. You can use the Stop parameter behavior to suspend a behavior’s effect on a single parameter. You can also trim each behavior in the Timeline. Finally, for some behaviors, you can change the Start Offset parameter to delay their beginning, and you can change the End Offset to stop the behaviors before the end of their object duration in the Timeline. These behaviors include Fade In/Fade Out, Grow/Shrink, and Snap Alignment to Motion. Using the Stop Behavior The easiest way to control behavior timing is to use the Stop behavior (in the Parameter category). The Stop behavior halts the animation occurring in any one parameter, whether the animation is based on keyframes in the Keyframe Editor or behaviors applied to that object. As explained in Applying Parameter Behaviors, all Parameter behaviors can be applied to a parameter of an object (such as opacity or position) or to an object (such as text or an image). If the behavior is applied to an object, you must assign a specific parameter to the behavior (in the Behaviors Inspector). To stop a parameter from animating 1 Move the playhead to the frame where you want animation to stop. 2 Select the affected object, then open the Properties Inspector. 3 Control-click the parameter to stop, choose Add Parameter Behavior from the shortcut menu, then choose Stop. Chapter 9 Using Behaviors 383 If the behavior was applied to one dimension of a multidimensional parameter, open that parameter’s disclosure triangle and Control-click the dimensional parameter to access the same shortcut menu, then choose Stop. The parameter is animated until the frame where the Stop behavior begins. Note: When applied in this manner, the Stop behavior takes effect at the current frame (regardless of the Create Layers At Preference setting). 4 To assign the Stop behavior to a different parameter, choose a new parameter from the Apply To pop-up menu. The Stop behavior halts the animation of all behaviors that affect the selected parameter of that object. For example, if the Gravity, Edge Collision, and Rotate behaviors are applied to a shape and you apply the Stop parameter to the shape layer’s Position parameter, the shape stops moving but continues rotating. To control when animation affecting that parameter is stopped, trim the Stop behavior in the Timeline. For more information on trimming behaviors, see Trimming Behaviors. For more information about applying Parameter behaviors, see Applying Parameter Behaviors. Trimming Behaviors When you apply a behavior to an object, the duration of the behavior in the Timeline defaults to the duration of the object to which it’s applied. However, a behavior can be modified to limit the duration of its effect. For example, if you apply the Spin behavior to a replicator layer, by default that replicator spins around for its entire duration. If you trim the Out point of the Spin behavior, the spinning stops at the new position of the Out point. As you trim the behavior, a tooltip appears, indicating the new location of the Out point as well as the new duration of the behavior. To change the duration of a behavior in the Timeline 1 Move the pointer to the In or Out point of any behavior in the Timeline. 2 When the pointer changes to the trim pointer, do one of the following: • Drag the In point to delay the beginning of the behavior’s effect. 384 Chapter 9 Using Behaviors • Drag the Out point to end the behavior’s effect before the end of the object. Trimming the Out point of a behavior often sets the object to its original state beyond the Out point behavior. For many behaviors, using the Stop behavior to pause the object’s animation is a more efficient method than trimming its Out point. Another way to stop a behavior’s effect and leave the affected object in the transformed state is to adjust a behavior’s Start and End Offset parameters. See Changing the Offset of Parameter Behaviors for more information. Note: The Simulation behaviors do not leave the object at the transformed state after the last frame of the trimmed behavior. For more information, see Controlling Simulation Behaviors. Controlling Simulation Behaviors The ideal use for behaviors (with the exception of Motion Tracking behaviors) is creating fluid motion graphics that do not require specific timing. This is especially true with the Simulation behavior group, which allows you to create some very sophisticated interactions among multiple objects in your project with minimal editing. Unlike Basic Motion behaviors, you cannot stop or change the motion of a Simulation behavior in the Timeline. However, you can affect the rate of a Simulation behavior by modifying its duration in the Timeline. You can also change the starting frame of the behavior. Because the Simulation behaviors simulate natural effects, such as Gravity, the laws of inertia apply: an external force sets the object in motion, and that object stays in motion even after the active force is no longer present. Changing the duration of a Timeline bar for a Simulation behavior does stop the “active” force on the object but does not stop the motion of the object. You can, of course, control Simulation behaviors by modifying their parameters. Chapter 9 Using Behaviors 385 In the following image, the Orbit Around (Simulation) behavior is applied to the large circle. The center text is assigned as the object that the circle moves around. The red animation path represents the motion the circle travels over its duration. The Orbit Around behavior is the same duration (300 frames) as the large circle to which it is applied. In the next image, the Orbit Around behavior is trimmed in the Timeline to a shorter duration (190 frames) than the object to which it is applied. Notice the change in the shape of the animation path: At frame 190, where the Orbit Around behavior ends, the object (the circle shape) stops moving around its target and continues moving off the Canvas. The Orbit Around behavior—the active force—is no longer present, but the motion of the circle does not stop. Moving Behaviors in Time In addition to changing a behavior’s duration, you can also move its position in the Timeline relative to the object under which it’s nested. This lets you set the frame where that behavior begins to take effect. To move a behavior in the Timeline 1 Click anywhere in the middle of a behavior’s bar in the Timeline. 2 Drag the behavior to the left or right to move it to another position in the Timeline. 386 Chapter 9 Using Behaviors As you move the bar, a tooltip appears and displays the new In and Out points for the behavior. The tooltip also displays the delta value, which shows the number of frames you have moved the bar. Changing the Offset of Parameter Behaviors Many Parameter behaviors have two additional parameters, Start Offset and End Offset, which are used to change the frame where a Parameter behavior’s effect begins and ends. The Start Offset parameter has a slider that lets you delay the beginning of the behavior’s effect, relative to the first frame of its position in the Timeline. You can adjust this parameter to make the Parameter behavior start later. The End Offset parameter lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, lets you freeze the behavior’s effect on the object for its remaining duration. The following example illustrates how to use the Start Offset and End Offset parameters with the Ramp behavior. To use the Start Offset and End Offset parameters 1 Select an object, such as a shape. 2 In the Properties Inspector, Control-click the Scale parameter, then choose Add Parameter Behavior > Ramp from the shortcut menu. The Ramp behavior is applied to the Scale parameter of the object, and the Behaviors Inspector opens. The Ramp behavior lets you create a gradual transition in any animateable parameter. 3 Set the Start Value to 0 and the End Value to 200, then play the project. The object scales from its original scale to twice its original size over the duration of the object. 4 Set the Start Offset to 90 and the End Offset to 90. The object does not begin scaling until frame 90, and stops scaling 90 frames from its last frame in the Timeline. Chapter 9 Using Behaviors 387 Combining Behaviors with Keyframes Any object can have behaviors and keyframes applied to it simultaneously. When this happens, the values generated by the behavior and the keyframed values applied to the parameter are combined to yield the final value for that parameter. This lets you combine the automatic convenience of behaviors with the direct control of keyframing to achieve your final result. Note: Motion has a specific order of operations for keyframes and behaviors. For more information, see Behavior Order of Operations. For example, if you create an animation path using keyframes, you can create a completely predictable and smooth movement. However, if you apply the Randomize parameter behavior to the same object, its effect combines with the motion path you created. As a result, the animation path follows the general direction you want, with random variation in it to make it interesting. Although this example shows how you can combine behaviors and keyframes to create animation paths, you can combine behaviors and keyframes for any parameter. 388 Chapter 9 Using Behaviors Combining Behaviors and Keyframes in the Keyframe Editor When you display a parameter that’s affected by a behavior in the Keyframe Editor, two curves appear for that parameter. A noneditable curve in the background displays the parameter as it is affected by the behavior. There are no keyframes over this first curve. Superimposed over the curve displaying the behavior’s effect is the parameter’s editable curve. You can keyframe a parameter before or after applying a behavior to the object that affects it. When you keyframe a parameter already affected by a behavior, the value of the keyframed curve is combined with the value generated by the behavior at each frame, which raises or lowers the resulting value displayed by the background curve. The background curve doesn’t just display the behavior’s animated values, it displays the sum of all values affecting that parameter. Behavior effect curve Editable curve Raising or lowering a keyframe in the Keyframe Editor also raises or lowers the background curve, because the keyframe is modifying the values generated by the behavior. Important: The value displayed in the Inspector for the affected parameter reflects the combined result of keyframes and behaviors applied to that parameter. Editing a parameter’s values in the Inspector only results in changes made to the underlying parameter value, whether keyframed or not. This parameter value is then combined with the behavior’s effect, yielding a final value that might differ from the value you entered. For more information on how to use keyframes in the Keyframe Editor, see Keyframes and Curves. Important: When you combine keyframes with multiple behaviors, the results can appear to be unpredictable, depending on the combination of behaviors applied. You can convert the behaviors that are applied to all parameters of an object into keyframes. Converting behaviors that have been combined with keyframes turns the sum of all behaviors and keyframes affecting that parameter into a thinned series of keyframes (a curve with fewer keyframes). This results in a final animation curve that closely replicates the shape of the background curve that appeared in the Keyframe Editor. These keyframes can then be edited in the Keyframe Editor. Chapter 9 Using Behaviors 389 The following screenshot shows the result of converting the behavior and keyframes in the previous example to a single keyframed channel that recreates the same motion, but in an editable fashion. For more information on converting behaviors into keyframes, see Converting Behaviors to Keyframes. Animating Behavior Parameters You can animate most behavior parameters to change the parameter’s effect over time. You can animate behavior parameters using Parameter behaviors, or by keyframing them in the Keyframe Editor. Applying Parameter Behaviors to a Behavior You can animate a behavior’s parameter by applying a Parameter behavior. For example, you can apply the Oscillate parameter behavior to the Drag parameter of the Orbit Around behavior, then adjust the Start and End values to increase from 0 to 8 over time. This results in the orbit of the object slowly decaying, causing the object to fall toward the center of the orbit. Orbit Around behavior Orbit Around behavior with an Oscillate parameter behavior applied to its Drag parameter For more information about adding Parameter behaviors, see Applying Parameter Behaviors. 390 Chapter 9 Using Behaviors Keyframing Behaviors If you need more control when animating a behavior’s parameters, you can use keyframes. For example, you can keyframe the Speed parameter of the Oscillate parameter behavior to increase the rate of oscillation over time, creating a more complex animation path without that much work. Default Oscillate Parameter behavior Oscillate Parameter behavior with keyframed Speed parameter For more information about keyframing parameters, see Animating Behaviors. Converting Behaviors to Keyframes Behaviors are best suited for fluid effects in which precise timing is not necessary. However, there might be projects in which you want finite control over the animated effects created with behaviors. If necessary, several of the behaviors can be baked into keyframes. This means that the animation curves created by the behaviors (which have no keyframes) can be converted into keyframed animation curves. You can then modify the keyframes in the Keyframe Editor to meet more precise timing requirements. Because many (though not all) behaviors affect shared object parameters, when you convert a behavior to keyframes, all behaviors applied to the same object are also converted into keyframes. The keyframes are applied to the individual parameters that the behaviors originally affected. For example, the Gravity and Throw behaviors affect Position, so you can’t convert the Gravity behavior to keyframes without affecting the Throw behavior. When behaviors applied to other objects affect the object being converted (for example, the Attractor or Repel behavior), their effect is baked into the object’s resulting keyframes value. The original behaviors remain applied to the other objects, but the resulting effect is not doubled up as a result of the keyframes combining with the behavior. Note: You cannot convert many of the Simulation, Replicator, Particle, or Text behaviors into keyframes. Simulation behaviors such as Vortex can affect the parameters of all objects in a project, and baking such a behavior would create an overwhelming amount of keyframes. Such behaviors are designed to create very complex motion that would be too time-consuming to keyframe manually. Chapter 9 Using Behaviors 391 If a behavior (or an object with applied behaviors) can be baked, the Convert to Keyframes command appears in the Object menu when the behavior or object is selected. If the Convert to Keyframes command is dimmed, keyframes cannot be generated from the behavior. To convert behaviors to keyframes 1 Do one of the following: • Select an object that has behaviors to convert. • In the Inspector, select a behavior to convert. 2 Choose Object > Convert to Keyframes (or press Command-K). A dialog prompts you to confirm the conversion to keyframes. 3 Click Convert. All behaviors are converted into keyframes, which appear in the Keyframe Editor. The entire animation of the object is converted into keyframes, even if some of the behaviors fall outside of the object’s time range. Note: You cannot selectively convert individual behaviors. The Convert to Keyframes command converts all behaviors applied to an object. Saving and Sharing Custom Behaviors You can save any object in Motion to the Library, including cameras, lights, customized filters and behaviors, groups, and layers (customized particle systems, replicators, shapes, and text). Objects animated with behaviors or keyframes can also be saved to the Library and retain their animation when applied to another project. Customized behaviors can be saved in an existing folder in the Library, such as the Favorites category, or you can create a folder in an existing category. After you save it to the Library, the behavior can be added to a project like any other object in the Library. Behaviors saved in the Library appear with a custom icon. Note: Items saved to the Library appear in the Finder with a .molo extension (“Motion Library object“). These items cannot be opened from the Finder. You can save multiple objects to the Library as one file or multiple files. For example, if you create an animation that uses multiple behaviors and you want to save the cumulative effect of those behaviors, you can save them all as one item in the Library. Although you can save custom behaviors into the Behaviors category, it is generally recommended that you save items that you use frequently in the Favorites category; some Motion Library categories contain so many items that using the Favorites or Favorites Menu category might save you search time. In the Favorites category, you can create additional folders to assist you in better arranging your custom items. 392 Chapter 9 Using Behaviors Behaviors saved to the Favorites Menu category can be applied to objects using the Favorites menu. You can also create new folders in existing categories. You can create a folder in the Favorites or Behaviors category. Folders created in the Behaviors category appear in the Library sidebar. Folders created in the subcategories, such as the Basic Motion subcategory, appear in the Library stack and not the sidebar. To save a behavior to the Library 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 Drag the customized behavior to save from the Layers list, Timeline, or Inspector into the stack at the bottom of the Library. When you save a customized behavior, it is saved in the /Users/username/Library/Application Support/Motion/Library/ folder. Note: If a custom behavior is dragged to another subcategory, such as the Glow (Filters) subcategory, it is placed in the Behaviors category and the Behaviors category becomes active. To save multiple behaviors to the Library 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 In the Layers list, select all behaviors to save and drag them to the stack, holding down the mouse button until a drop menu appears. 3 Choose “All in one file” or “Multiple files” from the drop menu, then release the mouse button. “All in one file” saves behaviors together. They are listed as one item in the Library. “Multiple files” saves the behaviors as individual objects in the Library. 4 To name the file or files, do one of the following: • Control-click the icon, choose Rename from the shortcut menu, then enter a descriptive name. • Select the icon, click “Untitled,” then enter a descriptive name. Note: When you Control-click the icon, the Edit Description option becomes available. This is a handy tool that allows you to enter custom notes about an item saved in the Library. After you choose Edit Description, enter your notes in the text field and click OK. To create a folder in the Behaviors, Favorites, or Favorites Menu category 1 Open the Library and select the Behaviors, Favorites, or Favorites Menu category. Chapter 9 Using Behaviors 393 2 Do one of the following: • Click the New Folder button (+) at the bottom of the window. • Control-click an empty area of the Library stack (the lower section of the Library), then choose New Folder from the shortcut menu. Note: You might have to expand your stack window or use icon view to access an empty area. An untitled folder appears in the subcategories list in the Library sidebar. 3 With the new folder selected, click the name, enter a new name, then press Return. To create a folder in a Behaviors subcategory 1 Open the Library and select a Behaviors subcategory, such as Basic Motion. 2 Do one of the following: • Click the New Folder button (+) at the bottom of the window. • Control-click an empty area of the Library stack (the lower section of the Library), then choose New Folder from the shortcut menu. The new untitled folder appears in the Library stack. The new folder does not appear in the Library sidebar. 3 With the new folder selected, click the name, enter a new name, then press Return. To move a behavior to a custom folder in the Behaviors category µ Drag the behavior to the new folder in the Library sidebar. The custom preset is added to the new folder and to the All subcategory. To move a behavior to a custom folder in a Behaviors subcategory µ Drag the behavior to the new folder in the Behaviors subcategory in the Library stack. The custom preset is added to the new folder and to the All subcategory. Deleting Custom Behaviors Custom behaviors can easily deleted from your system, if necessary. To delete a custom behavior µ In the Library stack, Control-click the custom behavior, then choose Move to Trash from the shortcut menu. 394 Chapter 9 Using Behaviors To delete a custom folder from a subcategory in the Library stack µ Control-click the folder in the Library stack, then choose Move to Trash from the shortcut menu. Note: You can also delete the folder from the Finder. The folder is stored in the /Users/username/Library/Application Support/Motion/Library/ folder. Important: Deleting a custom object or folder cannot be undone. To delete a custom folder from a category in the Library sidebar µ In the Finder, navigate to the /Users/username/Library/Application Support/Motion/Library/ folder, Control-click the folder, then choose Move to Trash from the shortcut menu. Moving Behaviors to Another Computer Each customized behavior you drag into the Motion Library is saved as a separate file in the /Users/username/Library/Application Support/Motion/Library/ folder on your computer. For example, a saved custom behavior named My Motion Path in the Favorites folder of the Library appears in the /Users/username/Library/Application Support/Motion/Library/Favorites/ folder. Items saved to the Library appear in the Finder with a .molo extension (“Motion Library object“). These items cannot be opened from the Finder. If you’ve created custom behaviors that you rely on, you can move them to other computers that have Motion installed. To copy a custom behavior to another computer µ Copy Motion custom preset files to that computer’s /Users/username/Library/Application Support/Motion/Library/ folder. Basic Motion Behaviors Basic Motion behaviors animate specific parameters of the object to which they are applied. Some affect position, while others affect scale, rotation, or opacity. Warning: Building consecutive Basic Motion behaviors or placing such a behavior before or after the Camera Framing behavior can create unexpected results. These behaviors can continue to affect the object even after the behavior ends, thus influencing the subsequent behavior’s animation path. For example, if a Framing behavior is applied after a Motion Path behavior, the residual effect of the Motion Path behavior is combined with the animation path generated by the Framing behavior. Consequently, the target object might be framed improperly. The following sections cover the Basic Motion behaviors: • Fade In/Fade Out Chapter 9 Using Behaviors 395 • Grow/Shrink • Motion Path • Move • Point At • Snap Alignment to Motion • Spin • Throw Fade In/Fade Out Lets you dissolve into and out of any object. The Fade In/Fade Out behavior affects the opacity of the object to which it is applied, fading from 0 percent opacity to 100 percent opacity at the beginning of the object, and then back to 0 percent opacity at the end. You can eliminate the fade-in or fade-out effect by setting the duration of either to 0 frames. Note: This behavior is multiplicative. This means that the Fade In and Fade Out parameters are multiplied by the object’s current opacity to produce the resulting level of transparency. The Fade In/Fade Out behavior is useful for introducing and removing elements you’re animating in a project. For example, you can apply the Fade In/Fade Out behavior to text that moves across the screen to make it fade into existence, and then fade away at the end of its duration. Note: Fade In/Fade Out behavior cannot be applied to a camera or light. Parameters in the Inspector Fade In Time: A slider defining the duration, in frames, over which the object fades in from 0 to 100 percent opacity from the first frame of the object. A duration of 0 frames results in a straight cut into the object, making it appear instantly. Fade Out Time: A slider defining the duration, in frames, over which the object fades out from 100 to 0 percent opacity from the last frame of the object. A duration of 0 frames results in a straight cutaway from the object, making it disappear instantly. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. This parameter value is measured in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Use this slider to offset the end of the Fade Out effect from the end of the object. 396 Chapter 9 Using Behaviors HUD Controls The HUD lets you control the Fade In and Fade Out durations, equivalent to the Fade In Time and Fade Out Time parameters in the Behaviors Inspector. Drag anywhere in the shaded area of the Fade In or the Fade Out ramp to adjust their durations. Note: Continue dragging beyond the limits of the graphical HUD control to extend the durations of the Fade In or Fade Out. Fade out Fade in Grow/Shrink Use the Grow/Shrink behavior to animate the scale of an object, enlarging or reducing its size over time at a speed defined by the Scale Rate or Scale To parameter. The Grow/Shrink effect begins at the object’s original size at the first frame of the behavior. Note: The Grow/Shrink behavior cannot be applied to cameras or lights. Tip: To scale particles over their lifetime, use the Scale Over Life particle behavior. For more information, see Using Particles Behaviors. Note: The vertical and horizontal growth rates can be set to independent values, for asymmetrical effects. The Grow/Shrink behavior is a good one to use with high-resolution graphics to zoom into an image, such as a map or photograph. You can also combine this behavior with the Throw or Wind behavior to pan across the image while zooming into it. The Grow/Shrink behavior can also be used to emphasize or de-emphasize images in your project. You can enlarge objects to make them the center of attention, or shrink an object while introducing another to move the viewer’s eye to the new element. Parameters in the Inspector Increment: This pop-up menu lets you choose how the behavior’s effect progresses over its duration in the Timeline. There are three options: • Continuous Rate: This option uses the Scale Rate parameter to grow or shrink the object by a steady number of pixels per second. Chapter 9 Using Behaviors 397 • Ramp to Final Value: This option grows or shrinks the object from its original size to the specified percentage plus the original scale in the Scale To parameter. If the behavior is shortened in the Timeline, the Grow/Shrink effect goes faster. • Natural Scale: Enabled by default, this option uses an exponential curve to allow the animation to progress slowly when the scale values are small and speed up when the values are large. This creates the illusion that the scaling is occurring at a constant speed. Scale Rate/Scale To: Depending on the command chosen in the Increment pop-up menu, the Scale Rate or Scale To parameter defines the speed and magnitude of the effect. This parameter can be expanded to reveal X and Y subparameters by clicking the disclosure triangle to the left. This lets you adjust the horizontal or vertical scale independently. Curvature: This parameter lets you adjust the acceleration with which this behavior transitions from the original to the final size. Higher Curvature values result in an easing into and out of the effect, where the object slowly starts to change size, and this change gradually speeds up as the behavior continues. Because Curvature is defined by the length of the behavior in the Timeline, minus the End Offset, it does not affect the overall duration of the effect Note: The Curvature parameter is not available when the Increment parameter is set to Natural Scale. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Use this slider to offset the end of the Grow/Shrink effect from the end of the object. 398 Chapter 9 Using Behaviors HUD Controls The Grow/Shrink HUD consists of two rectangular regions. The first, a rectangle with a dotted line, represents the original size of the object. The second is a solid rectangle that represents the relative growth rate, and can be resized by dragging any of the borders. Enlarge the box to grow the target object, or reduce the box to shrink it. A slider to the right lets you adjust the scale of the HUD controls, increasing or decreasing the effect the controls have over the object. Scale To parameter Original size Zoom level of HUD Motion Path The Motion Path behavior lets you create a 2D or 3D motion path for an object to follow. When you first apply the Motion Path behavior, it defaults to an open spline—a straight line defined by two points at the beginning and end of the motion path. You can also choose from preset path shapes, such as a closed spline, loop, rectangle, or wave, or use a shape to define a path. A shape used as the source for a motion path can be animated. You can modify the motion path in 3D space so an object travels on the path along the path’s X, Y, and Z axes. For more information, see Adjusting a Motion Path in 3D Space. The first point on the path is the position of the object in the Canvas at the first frame of the behavior. Option-click anywhere on the path to add Bezier points, which allow you to reshape the motion path by creating curves. Chapter 9 Using Behaviors 399 Note: To show or hide the motion path, choose Show Overlays from the View pop-up menu in the status bar. (The Animation Path option shows and hides the animation paths of other behaviors.) When you play the project, the object moves along the assigned path. The speed at which the target object travels is defined by the duration of the behavior. Speed is also affected by the Speed parameter, which lets you modify the object’s velocity—adding acceleration and deceleration at the beginning and end of the behavior, for example. You can also create a custom preset defining how the object travels along the path. Note: When you switch between the Path Shape options, the Inspector and the HUD display parameters specific to the selected option. The Motion Path behavior is an easy way to create predictable motion without using the Keyframe Editor. It’s also a great way to create reusable motion paths that you can save in the Library for future use. When the Motion Path behavior is added to an object, the Adjust Item tool is selected, allowing you to modify the default path in the Canvas by adding points and using the Bezier (or B-Spline) controls attached to each point to adjust each curve. You can also move and resize preset motion path shapes, such as a rectangle or wave, in the Canvas. Parameters in the Inspector Path Shape: A pop-up menu that lets you define the shape of the path on which the object travels. • Open Spline: The default shape, a straight path defined by two points at the beginning and end of the path. You can choose to work with Bezier or B-Spline control points. Option-click (or double-click) anywhere on the path to add points. • Closed Spline: A closed path in which the last point is in the same location as the first point. You can choose to work with Bezier or B-Spline control points. Option-click (or double-click) anywhere on the path to add points. 400 Chapter 9 Using Behaviors • Circle: A simplified version of Closed Spline, in which the X radius or Y radius can be adjusted to create a circle or an ellipse. Use the outer control points to resize the circle (or rectangle) motion path’s shape. • Rectangle: A closed path in which the width and the height can be adjusted to create a square or a rectangle. • Wave: A wavy path (a sine wave) defined by two points, one at the beginning and one at the end of the path, and controlled by the End Point, Amplitude, Frequency, Phase, and Damping parameters. • Geometry: The object travels along the edge of a shape or mask used as the source for the path. In the following figure, the outline of the shape on the left is used as the motion path in the composition shown on the right. Note: The Path Shape parameters work similarly to text on a path. For more information about working with text on a path, see Working with Text on a Path. Shape Type: When Path Shape is set to Open Spline or Closed Spline, this pop-up menu allows you to choose one of two ways to manipulate the shape of the path: Bezier or B-Spline. • Bezier: Lets you manipulate the keyframe curve manually by dragging the handles. Note: For more information about creating and adjusting Bezier curves, see Editing Bezier Control Points. Chapter 9 Using Behaviors 401 • B-Spline: B-Splines are manipulated using only points—there are no tangent handles. The points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. B-Splines are extremely smooth—by default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary. Note: For more information about working with B-Spline curves, see Editing B-Spline Control Points. Radius: When Circle is the defined path shape, this slider allows you to change the size of the circular path. Click the disclosure triangle to individually adjust the X radius and Y radius. Note: When the Motion Path behavior is selected, you can also use the onscreen control points to resize the circle. Press Shift to resize the X and Y radii uniformly. Size: When Rectangle is the defined path shape, this slider allows you to change the size of the rectangular path. Click the disclosure triangle to individually adjust the X scale and Y scale. Note: When the Motion Path behavior is selected, you can also use the onscreen control points to resize the rectangle. Press Shift to resize the X and Y scales uniformly. Offset: When Circle, Rectangle, or Geometry is the defined path shape, this slider lets you specify where the object starts moving on the path. End Points: When Wave is the defined path shape, this control sets the location of two default points on the wave’s path. The end points can also be adjusted using the wave’s onscreen controls (active by default when the Motion Path behavior is selected). Moving the left end point moves the entire path; moving the right end point lengthens, shortens, or angles the path. Amplitude: When Wave is the defined path shape, this slider defines half the distance from the highest point to the lowest point in the wave. Higher values result in more extreme waves. Frequency: When Wave is the defined path shape, this slider sets the number of waves. Higher values result in more waves. Phase: When Wave is the defined path shape, this dial defines the degrees of the offset of the waves from the start and end points of the path. When set to 0 degrees (default), the wave begins and ends at half the distance from the highest point to the lowest point in the wave. When set to 90 degrees, the wave begins and ends at the highest point in the wave. When set to –90 degrees, the wave begins at the lowest point in the wave. When set to 180 degrees, the waves are the same as 0 degrees, but inverted. 402 Chapter 9 Using Behaviors Damping: When Wave is the defined path shape, this slider progressively diminishes the oscillation of the wave. Positive damping values diminish the wave forward (from left to right); negative values diminish the wave backward (from right to left). The following illustration shows positive damping applied to the wave motion path. Attach to Shape: When Geometry is the defined path shape, this checkbox, when activated, forces the motion path to follow the source shape at its original location. When disabled, the motion path can exist in a location other than its source shape. Note: When Attach to Shape is on, you cannot move the object to another location. Tip: To align the rotation of an object to match all changes made to its position along an animation path, apply the Snap Alignment to Motion behavior. For more information, see Snap Alignment to Motion. Shape Source: When Geometry is the defined path shape, this image well defines the object (shape or mask) to use as the motion path source. • To: This pop-up menu, located to the right of the Shape Source image well, displays a list of all objects in the current project that can be used as a shape source for the motion path. Direction: A pop-up menu that defines the object’s direction over the path. There are two options: • Forward: The object moves in a forward direction along the path (from the start point to the end point, depending upon the Offset parameter). • Reverse: The object moves in a backward direction along the path (from the end point to the start point, depending upon the Offset parameter). Note: The Offset parameter is available when Path Shape is set to Circle or Rectangle. Speed: A pop-up menu that defines the object’s velocity from the first to the last point in the motion path. There are eight choices: • Constant: The object moves at a steady speed from the first to the last point on the motion path. • Ease In: The object starts at a slow speed, then reaches and maintains a steady speed through the last point on the motion path. Chapter 9 Using Behaviors 403 • Ease Out: The object starts at a steady speed, then slows down as it gradually decelerates to a stop at the last point of the motion path. • Ease Both: The object slowly accelerates from the first point on the motion path, and then slows down as it gradually decelerates to a stop at the last point of the motion path. • Accelerate: The object moves along the path with increasing speed. • Decelerate: The object moves along the path with decreasing speed. • Natural: The speed in which the object moves over the path is determined by the shape of the path. For example, if the path is a U-shape curve, the object moves faster as it moves toward the low point of the U and slower as it moves up the edges. • Custom: Custom allows you to define the movement of the object along its path by setting keyframes for the object’s speed from 0 to 100 percent. In other words, you determine the position of the object along the path in time. Custom Speed: This parameter becomes available when Speed is set to Custom. You can modify the Custom Speed velocity curve in the Keyframe Editor. You can keyframe custom values to make an object, for example, travel forward to a specific percentage of the path, then backward, then forward, and so on before it reaches the end of the animation. Apply Speed: When the Loops parameter is set to a value greater than 1, this pop-up menu determines how the Speed parameter (velocity) is applied over the duration of the behavior. Note: Loops must be set to a value greater than 1 for the Apply Speed parameter to have any effect. • Once Per Loop: The velocity, as defined by the Speed parameter, is applied to each cycle. For example, if Loops is set to 3 and Speed is set to Accelerate, the object accelerates each time it travels over the path. The speed is applied to the entire duration, ignoring the Loops setting. • Over Entire Duration: The velocity, as defined by the Speed parameter, is applied one time over the duration of the behavior. For example, if Loops is set to 3 and Speed is set to Accelerate, the object accelerates the first time it travels over the path, but not the second and third time. Loops: Determines the number of times the object travels the motion path over the duration of the behavior. For an object to travel its path more than once, or to “ping pong,” Loops must be set to a value greater than 1. End Condition: A pop-up menu that defines the behavior of the object after it reaches the end of its motion path. There are two options: • Repeat: The object travels the motion path the number of times defined by the Loop parameter. 404 Chapter 9 Using Behaviors • Ping-Pong: The object moves along the path until it reaches the last point on the path, then it moves backward to the first point on the path. The number of “ping pongs” is defined by the Loops parameter. Control Points: This parameter becomes available when the path shape is Open Spline or Closed Spline. Click the disclosure triangle to display the Position parameters for the motion path control points. The first value field is X, the second value field is Y, and the third value field is Z. Note: You cannot apply Parameter behaviors to the control points. HUD Controls In the HUD, the following controls are always available: Path Shape, Shape Type, Direction, Speed, Custom Speed, Apply Speed (sets the number of times the object travels the path over the object’s duration), and End Condition. Other parameters become available depending on what is selected from the Path Shape parameter. Related Behaviors • Gravity • Random Motion • Throw • Wind Motion Path Tasks The following tasks show you how to customize the Motion Path behavior. Distancing the Object from the Motion Path By default, the object is locked to the motion path by its anchor point. To distance the object from the path µ Select the Anchor Point tool from the toolbar and move the anchor point in the Canvas. For more information on using the Anchor Point tool, see Using the Anchor Point Tool. Note: A separate Offset parameter allows you to offset the starting location of the object on the motion path (but does not offset the object from the path). Moving the Object and Its Motion Path Moving an object moves the object’s related motion path. Chapter 9 Using Behaviors 405 To move the object and its motion path µ Select the object (not the Motion Path behavior), and move the object in the Canvas. Using Geometry for a Motion Path Shape The following section describes how to use geometry as the source for a motion path shape. You can use a shape that is animated with behaviors or keyframes as the source for a motion path. This includes animated transforms (a shape changing its location in the Canvas) and animated control points (a shape changing its shape due to keyframed control points). To use geometry for a motion path shape 1 Import (or draw) the shape to use as the path source. 2 Choose Geometry from the Path Shape pop-up menu. The Shape Source well appears in the Inspector and HUD. 3 From the Layers list, drag the shape to the Shape Source well. 4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the shape appears in the well and the shape is used as the source shape for the motion path. Note: You might want to disable the source shape in the Layers list so the source shape is not visible in your project. To select another geometry source for a motion path shape µ Choose the object to use as the motion path’s shape source from the To pop-up menu (located next to the Shape Source image well). Note: To align the rotation of the object to the shape of its motion path, you can apply the Snap Alignment to Motion behavior (in the Basic Motion behaviors subcategory). To use the Custom Speed parameter 1 In the Inspector or HUD, choose Custom from the Speed pop-up menu. The Custom Speed parameter becomes available. By default, a keyframe is set at the first and last points of the behavior to create an animation of 0 percent to 100 percent, where at 0 the object is at the beginning of the path, and at 100 the object is at the end of the path. This is the same velocity used with the Constant preset. 2 Enable Record (press A). Note: When Record is enabled, all keyframeable parameter value fields are tinted. This is to remind you that any value change entered in this state creates a keyframe. 3 Move the playhead to the position where you want to create a keyframe, then enter a value in the Custom Speed field. For example, a value of 90 moves the object 90 percent of the way through the motion path. 406 Chapter 9 Using Behaviors 4 Continue moving the playhead and adding keyframes to obtain the result you want. Note: If you change the Speed parameter to a preset (such as Constant) after creating a custom speed, the custom velocity channel is ignored but remains intact. Adjusting a Motion Path in 3D Space You can adjust a motion path in 3D space. The easiest way to modify a motion path in 3D space is to add a camera to your project and manipulate the path in a modified camera view. To adjust a motion path in 3D space 1 If there is no camera in your project, add a camera by doing one of the following: • Click the New Camera button in the toolbar. • Choose Object > New Camera (or press Command-Option-C). Note: If none of your project groups are set to 3D, a dialog appears asking if you want to switch your 2D groups to 3D groups. Click Switch to 3D to allow the camera to affect the groups. 2 Do one of the following: • Choose a camera view from the Camera pop-up menu in the upper-left corner of the Canvas (the default option is Active Camera). This example uses the Top view. • With the Active Camera (or other) view selected, use the Orbit tool (the center tool in 3D View tools in the upper-right corner of the Canvas) to rotate the camera. Note: If you use the 3D View tools with any camera selected, you are moving the camera, not just changing the camera view. Depending on the camera view, the object on the path might not be visible. For example, if the object has not been rotated in X or Y space and you are working in Top view, the camera is looking down perpendicularly (on the Y axis) on the object. The motion path and its points are still visible (as long as the Motion Path behavior is selected). Chapter 9 Using Behaviors 407 In the following image, the motion path appears flat when viewed from above—the affected object only moves in X and Y space. 3 Drag a control point up or down to adjust the object in Z space. In the following image, the path is no longer flat—the affected object moves in X, Y, and Z space. Note: The motion path onscreen controls are available for all camera views. 408 Chapter 9 Using Behaviors To enter specific values for the control point locations, click the Control Points disclosure triangle in the Motion Path behavior parameters. The first value field is X, the second value field is Y, and the third value field is Z. 4 To reset the camera view, do one of the following: • Double-click the 3D View tool that you previously adjusted. For example, if you dragged the Orbit tool to rotate the current camera, double-click the Orbit tool to reset the camera. • If you chose (and/or modified) a default camera view (such as Top, Right, Left, and so on), choose Active Camera from the Camera menu, or choose View > 3D View > Active Camera. • With the camera selected, click the reset button in the Properties Inspector. Move The Move behavior places a point in the Canvas that creates a specific location for an object or group to move toward or away from in a straight line. In the following illustration, an Orbit Around behavior is applied to the airplane shape. Chapter 9 Using Behaviors 409 In the next illustration, a Move behavior is added to the airplane shape. The destination point of the Move path is positioned in the center of the circle. While the airplane circles around (obeying the Orbit Around behavior), it is also drawn to the center of the target (obeying the Move behavior), creating a spiraling motion path. Tip: The Move behavior is an ideal tool when working in 3D mode, as it allows you to simulate camera movements without using a camera. For example, when applied to a group that contains objects offset in Z space, you can create a dolly-like move. Parameters in the Inspector Position: Value fields that allow you to define the X, Y, and Z position of the target point. The target (the end of the Move path) is placed at the center of the Canvas by default. Note: The Move behavior and the Adjust Item tool must be selected to move the target corresponding to the Position parameter. Use the Select/Transform tool to move the object. Strength: A slider defining the speed at which the object moves toward the target. With a value of 0, the object doesn’t move at all. The higher the value, the faster the object moves. Direction: A pop-up menu that sets whether the object moves toward the target point or away from the point. Speed: A pop-up menu that defines the object’s velocity from its position in the Canvas to the position of the target. There are six choices: • Constant: The object moves at a steady speed from its position toward the target. • Ease In: The object starts at a slow speed, then reaches and maintains a steady speed toward the target. • Ease Out: The object starts at a steady speed, then slows down as it gradually decelerates to a stop when it reaches the target. 410 Chapter 9 Using Behaviors • Ease Both: The object slowly accelerates and then slows down as it gradually decelerates to a stop when it reaches the target. • Accelerate: The object moves toward the target with increasing speed. • Decelerate: The object moves toward the target with decreasing speed. Note: To move the object more slowly toward its target, extend the duration of the Move To behavior in the Timeline or mini-Timeline. To move the object faster, shorten the duration of the behavior. HUD Controls The HUD has a slider that sets the influence amount (Strength), a Direction pop-up menu that defines whether the object moves toward the null point or away from the point, and a Speed pop-up menu that allows you to define the object’s velocity. Point At When the Point At behavior is applied to an object or group, you can specify a target point for the affected object to turn toward. Tip: Use the Point To behavior with the Move To behavior to created animated objects that not only move toward a point (or each other), but that turn in the direction of the target. Parameters in the Inspector Object: An image well that defines the target object. To set the target object, drag the object from the Layers list to the Object well in the Point At HUD or Inspector. You can also drag the target object from the Layers list onto the Point At behavior. Transition: This slider determines how long it takes for the object to go from its starting orientation to pointing at the center of the target object. This parameter is useful when the object is pointing at a moving target object. If Transition is set to 50% in a 300-frame project, and the target object is not moving, the point-at object takes 150 frames to point at (or orient to) the center of the target object and then stops moving for the duration of the behavior. If Transition is set to 100%, the point-at object takes the full 300 frames to point at the target object. If the Point At behavior’s duration is 100 frames, and Transition is set to 50%, the point-at object takes 50 frames to orient to the target object. If Transition is set to 50% in a 300-frame project, and the target object is animated, the point-at object takes 150 frames to point at (or orient to) the center of the target object and then continues following the animated target object for the duration of the behavior. If Transition is set to 100%, the point-at object takes the full 300 frames to point at the target object. Chapter 9 Using Behaviors 411 Speed: A pop-up menu that defines the object’s velocity from its position in the Canvas to the position of the target. There are six choices: • Constant: The object moves at a steady speed from its position toward the target. • Ease In: The object starts at a slow speed, then reaches and maintains a steady speed toward the target. • Ease Out: The object starts at a steady speed, then slows down as it gradually decelerates to a stop when it reaches the target. • Ease Both: The object slowly accelerates and then slows down as it gradually decelerates to a stop when it reaches the target. • Accelerate: The object moves toward the target with increasing speed. • Decelerate: The object moves toward the target with decreasing speed. Axis: A pop-up menu that lets you align the rotation of the object to the X, Y, or Z axis. The default axis is Z. This parameter specifies which axis points at the target after the movement is complete. Invert Axis: If the object is aligning on the correct axis, but appears backwards, this checkbox flips the object so it faces the proper direction. HUD Controls The HUD has an Object well, a Transition slider, a Speed pop-up menu that allows you to define the object’s velocity, an Axis pop-up menu to choose which axis should point at the target after the movement is complete, and an Invert Axis checkbox. Snap Alignment to Motion This behavior aligns the rotation of an object to match all changes made to its position along an animation path. This behavior is meant to be combined with behaviors that animate the position of an object, or with a keyframed animation path you create yourself. 412 Chapter 9 Using Behaviors In the following example, a graphic of an airplane is shown travelling a spiral motion path. On its own, the orientation of the graphic doesn’t change, because only the Position parameter is affected. If you add the Snap Alignment to Motion behavior to the airplane graphic, the Rotation parameter is affected so the graphic points in the direction of motion, without the need for additional keyframing. Parameters in the Inspector Rotation Axis: A pop-up menu that lets you rotate the object around the X, Y, or Z axis. You can also choose All to rotate the object around all three axes. The default rotation axis is Z. All uses the acceleration direction as “up,” like a roller coaster. Axis: A pop-up menu that lets you specify whether the object aligns to its horizontal or vertical axis. Invert Axis: If the object is aligning on the correct axis, but appears backwards, this checkbox flips the object so it faces the proper direction. Chapter 9 Using Behaviors 413 End Offset: A slider that allows you to offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. For example, if End Offset is set to 60, the object actively snaps to the direction of the path until 60 frames before the end of behavior in the Timeline. HUD Controls The HUD has a pop-up menu to control the axis around which the object is rotated, a pop-up menu to control the axis used to adjust the object’s alignment, and a checkbox to let you invert the axis. Related Behaviors • Align To Motion Spin Apply the Spin behavior to animate the rotation of an object, spinning it around a single axis. Using the Custom axis controls, the rotation does not have to occur on a principle axis (X, Y, or Z). If you trim the end of the Spin behavior to be shorter than the duration of the object to which it is applied, it remains at the angle of the last frame of the behavior, as long as there are no other behaviors or keyframes affecting that object’s Rotation parameter. Uses for Spin are fairly obvious, but another way to use the Spin behavior is with objects that have an off-center anchor point. Because objects rotate around the anchor point, if you change an object’s anchor point before you apply a Spin behavior to it, you can change the look of the motion you create. For more information on changing an object’s anchor point, see Using the Anchor Point Tool. Note: Although the Spin behavior appears in the Basic Motion category, Spin is treated as a Simulation behavior in Motion’s order of operations. For more information, see Behavior Order of Operations. Parameters in the Inspector Affect Subobjects: This parameter appears when Spin is applied to an object that contains multiple objects, such as a group, particle emitter, or text. When this checkbox is selected, each object in the layer or group rotates as an individual object. When this checkbox is deselected, the entire layer or group spins. Increment: This pop-up menu lets you choose how the behavior’s effect progresses over its duration in the Timeline. There are two choices: • Continuous Rate: Uses the Spin Rate parameter to spin the object by a steady number of degrees per second. • Ramp to Final Value: Spins the object for the number of degrees specified in the Spin To parameter over the behavior’s duration in the Timeline. 414 Chapter 9 Using Behaviors Spin Rate/Spin To: A dial controlling the speed at which the object spins. When Increment is set to Continuous Rate, the Spin Rate defines a continuous rate of spin in degrees per second. When Increment is set to Ramp to Final Value, Spin To defines a number of degrees to spin over that object’s duration. Negative values result in clockwise motion, while positive values result in counterclockwise motion. Axis: A pop-up menu that allows you to choose whether the object spins about the X, Y, or Z axis. You can also choose Custom, which yields additional Longitude and Latitude parameters. The following illustration shows the Spin behavior’s HUD control set to the Z axis. When Axis is set to Custom, additional Longitude and Latitude parameters become available. These parameters allow the object to spin at an angle (not locked to the X, Y, or Z axes). If you’re working on an object in a 3D group, you can also drag the axis control in any direction to simultaneously modify the longitude and latitude of spin, as seen in the following illustration. Chapter 9 Using Behaviors 415 The following image shows how longitude and latitude relate to the Spin HUD control. Y X Z Latitude Longitude • Latitude/Longitude: Available when Axis is set to Custom (or by dragging the center control of the Spin HUD), these parameters allow you to specify the axis of rotation. HUD Controls The Spin behavior’s HUD controls include an outer ring and an inner control. Drag along the edge of the outer ring to manipulate an arrow that indicates the direction and speed the object spins. Adjust the length of the arrow to change the speed at which the spinning occurs—drag around multiple times to increase the rate of the spin. The inner arrow controls the axis about which the object or group spins. When you drag the inner controls, a globe control becomes available that allows you to adjust the object’s spin in degrees longitude and latitude. Note: You can spin the arrow around the ring multiple times to rotate the object more quickly. Controls direction and speed of spin 416 Chapter 9 Using Behaviors Throw The Throw behavior is the simplest way of setting an object in motion. Controls let you adjust the speed and direction of a single force that’s exerted on the object at the first frame of the behavior. After this initial force is applied, the object continues drifting in a straight line at the same speed, for the duration of the Throw behavior. A simple example of using the Throw behavior is to send a series of offscreen objects moving across the screen. When used in conjunction with other behaviors such as Grow/Shrink and Fade In/Fade Out, you can create sophisticated moving elements without keyframing a single parameter. The Throw behavior is also useful when you’re moving an object through a simulation. For example, you might move the object past other objects that have Attractor or Repel behaviors applied to them. Because the Throw behavior only applies a single force to move the target object at the initial frame of the behavior, any other behaviors that interact with the target object have potentially greater influence over its motion. Important: The Throw behavior does not apply a continuous force, nor can you create changes in direction or speed, because Throw cannot be keyframed. To create keyframed changes in direction or speed, use the Wind behavior. To create a more complex animation path, use the Motion Path behavior. Parameters in the Inspector Affect Subobjects: This parameter appears when Throw is applied to an object that contains multiple objects, such as a group, particle emitter, or text. When this checkbox is selected, each object within a parent object moves as an individual object. When this checkbox is deselected, the entire layer or group moves as a whole. Increment: This pop-up menu lets you choose how the behavior’s effect progresses over its duration in the Timeline. There are two choices: • Continuous Rate: Sets the speed of the object at a steady number of pixels per second, specified in the Throw Velocity parameter. Note: If the Canvas is displaying a nonsquare pixel image, the vertical rate is in pixels per second, and the horizontal rate is the perceptual equivalent. • Ramp to Final Value: Moves the object from its original position to the specified distance (in pixels) in the Throw Distance parameter. Throw Velocity/Throw Distance: When the Increment pop-up menu is set to Continuous Rate, the Throw Velocity parameter appears, which lets you set a continuous speed for the object to move in X, Y, or Z space. When the Increment pop-up menu is set to Ramp to Final Value, the Throw Distance parameter appears, which sets a total distance (in pixels) for the object to travel in X, Y, and Z space over its duration. The slider is limited to 100 pixels. Use the value field to enter values greater than 100. Chapter 9 Using Behaviors 417 HUD Controls The 2D HUD lets you specify the direction and speed of the Throw behavior by dragging an arrow in a circular region. The direction of the arrow defines the direction of movement in X and Y space, and the length of the arrow defines speed (velocity). A slider to the right lets you adjust the scale of the HUD control, increasing or decreasing the effect the direction/speed control has over the object. Adjusts the scale of the direction control, affecting speed Controls direction and speed of throw When you click the 3D button, additional 3D controls become available. The center arrow now defines the direction the object is thrown in 3D space (X, Y, and Z axes). The Speed slider (on the left side of the HUD) lets you increase or decrease the velocity of the thrown object. Adjusts velocity of throw Adjusts direction in X, Y, and Z space In the 2D and 3D Throw HUDs, press the Shift key while dragging the arrow to constrain it to 45 degree angles. In the 2D HUD, press the Command key to change the arrow’s direction without affecting its length. 418 Chapter 9 Using Behaviors Note: The maximum speed you can define with the HUD is not the maximum possible speed. Higher values can be entered into the Throw Velocity/Throw Distance parameter in the Behaviors Inspector. Related Behaviors • Motion Path • Gravity • Random Motion • Wind Parameter Behaviors These behaviors can be applied to any object parameter that can be animated, and their effects are limited to just that parameter. The same Parameter behavior can be added to different parameters, resulting in different effects. For example, you can apply the Oscillate behavior to the opacity of an object to make it fade in and out, or you can apply it to the rotation of an object to make it rock back and forth. You can also apply Parameter behaviors to filter parameters, generator parameters, the parameters of particle systems, or even the parameters of other behaviors. Examples include Oscillate, Randomize, and Reverse. For more information on applying Parameter behaviors, see Applying Parameter Behaviors. The following sections cover the Parameter behaviors: • Audio • Average • Clamp • Custom • Exponential • Link • Logarithmic • MIDI • Negate • Oscillate • Quantize • Ramp • Randomize • Rate Chapter 9 Using Behaviors 419 • Reverse • Stop • Track • Wriggle Audio This behavior allows you to animate nearly any parameter based on properties of an audio file, such as bass frequency. For example, the Audio parameter behavior can be applied to the Scale parameter of an object so it scales up and down based on the amplitude of the bass, or to the Opacity parameter so it fades in and out to the beat. For more information on using the Audio parameter behavior, see Audio Parameter Behavior. Average This behavior smoothes the transition from one value to another caused by keyframes and behaviors applied to a parameter. Use the Average behavior to smooth out animated effects. Averaged motion moves more fluidly, while averaged changes to parameters such as Opacity and to filter parameters appear to happen more gradually. Use the Window Size parameter to adjust the amount by which to smooth the affected parameter. Tip: The Average behavior can be used to smooth out the sequence of values generated by a Randomize behavior. Parameters in the Inspector Window Size: A slider lets you adjust the amount of smoothing to apply to the affected parameter by specifying the number of adjacent frames to average together. Higher values apply more smoothing by averaging a wider range of values, resulting in more fluid animation. Lower values average a narrower range of values and apply less smoothing with values closer to the original. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you adjust the Window Size parameter and change the parameter assignment. Related Behaviors • Negate • Reverse 420 Chapter 9 Using Behaviors Clamp This behavior allows you to define a minimum and maximum value for an animated parameter. In the following illustration, the center star has an applied Vortex behavior that’s set to affect the two airplane shapes. As a result, the airplanes circle around the center star, as indicated by the red animation path. In the following illustration, a Clamp behavior is applied to the X Position parameter of the outer airplane shape. The Max value is set to 230 and the Min value is set to 0. The result is that the animation path is “clamped,” because the image can travel up to 230 pixels to the right but does not move left past the 0 point, creating a half-circle animation. The circle motion path is essentially cut in half. If a negative value is entered in the Min value field, the image moves past the 0 point. Parameters in the Inspector Clamp At: A pop-up menu in which you choose the option to clamp parameter values at only the minimum, only the maximum, or both minimum and maximum. Chapter 9 Using Behaviors 421 Min: A value slider that lets you define the minimum amount of change for an animated parameter. Max: A value slider that lets you define the maximum amount of change for an animated parameter. The value is represented as a percentage, in pixels, or in degrees, depending on the parameter assignment. For example, if Clamp is applied to the Rotation parameter, the Min and Max values are degrees. If Clamp is applied to the X Position parameter, the values are in pixels. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you set the clamp to Min, Max, or Min and Max values, and also to change the parameter assignment. Related Behaviors • Quantize Custom The Custom behavior allows you to make your own behaviors by creating a set of parameters, then keyframing them to create the type of animation you want to apply to an object. By saving custom behaviors you create in the Library, you can create your own collection of behaviors to suit your needs. You apply the Custom behavior like any other non-Parameter behavior in Motion: by dragging it from the Library onto an object in the Canvas or Layers list, or by selecting an object in the Canvas or Layers list, then choosing Custom from the Add Behavior pop-up menu. Note: Although the Custom behavior is a Parameter behavior, it does not appear in the shortcut menu when you Control-click a parameter. Parameters in the Inspector Unlike other behaviors, the Custom behavior doesn’t start out with any parameters in the Behaviors Inspector. Instead, a pair of pop-up menus allows you to add and remove any parameters you want to use. Add Parameter: The Add Parameter pop-up menu allows you to add parameters you want to keyframe to create custom animation. Choose a parameter from this menu to add it to the Custom parameter list for keyframing. 422 Chapter 9 Using Behaviors Remove Parameter: The Remove Parameter pop-up menu lists parameters you’ve added to the current Custom behavior. Choose a parameter from this menu to remove it from the Custom parameter list, along with any keyframes applied to that parameter. HUD Controls There are no HUD controls for this behavior. Adding a Custom Behavior Before adding custom parameters to a Custom behavior, you must apply the Custom behavior to an object in the Canvas. For more information on saving behaviors, see Saving and Sharing Custom Behaviors. To add a Custom behavior to an object Do one of the following: µ Select the object you want to add a Custom behavior to, open the Add Behavior pop-up menu in the toolbar, then choose Parameter > Custom from the submenu. µ In the Library, select the Behaviors category, select the Parameter subcategory, then drag the Custom icon to the object in the Canvas, Layers list, or Timeline. The Custom behavior is applied to the object. The behavior has no effect until you add a parameter to the behavior. To add a parameter to animate in a Custom behavior µ Choose a parameter to add to the Custom parameter list from the Add Parameter pop-up menu. This menu contains every animateable parameter. The parameter appears in the Behaviors Inspector below the Custom behavior. Chapter 9 Using Behaviors 423 After you add the parameters to animate in your Custom behavior, you can keyframe them in the Keyframe Editor to create whatever animated effect you require. For more information on keyframing parameters to create animation, see Animating Behaviors. To remove a parameter from the Custom parameter list µ Choose the parameter to remove from the Remove Parameter list. That parameter no longer appears in the Custom parameter list. Any keyframes applied to that parameter are deleted. After you animate the parameters you added, you can save the Custom behavior into the Library for future use. For more information about saving Custom behaviors to the Library, see Saving and Sharing Custom Behaviors. When you apply a Custom behavior that you’ve saved in the Library to an object in a project, its keyframed animation is scaled to the duration of the object to which it is applied. This means that no matter how long the original Custom behavior was, you can apply it to any object, and the animated effect speeds up or slows down to accommodate the new object’s duration. Exponential The Exponential parameter behavior creates more natural animations when scaling objects, especially when using high values. For example, when an object scales from very small to very large, the animation appears to slow down as the object reaches its upper scale values. The Exponential parameter behavior works like the Ramp behavior, but applies a mathematical function to create an exponential curve (rather than linear) between the two values. This allows the animation to progress slowly when the scale values are small and speed up when the scale values are large. Tip: When applied to parameters other than Scale, the Exponential parameter behavior creates more organic animations than other interpolation modes. You can also change the interpolation modes of keyframes to Exponential. For more information, see Modifying Curves. Parameters in the Inspector Start Value: The value that’s added to the parameter at the first frame of the Exponential behavior. 424 Chapter 9 Using Behaviors End Value: The value the Exponential behavior reaches at the last frame of the behavior. Over the life of the behavior, the parameter the Exponential behavior is applied to makes a transition from the Start Value to the End Value plus the original value. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the object to its original parameter. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you set the start and end values and change the parameter assignment. Related Behaviors • Logarithmic • Ramp Chapter 9 Using Behaviors 425 Link The Link parameter behavior forces the value of one parameter to match that of another “linked” parameter. The source behavior can be within the same object or from another object. The linked parameters must contain numerical data. Parameters controlled by checkboxes, menus, and other non-numeric values cannot be linked. The linked parameters also must contain the same number of attributes. You cannot link a compound parameter such as Scale X-Y-Z to a parameter such as Opacity which has only one slider. You can however, link a compound parameter such as Scale X-Y-Z to Position X-Y-Z. The values of the source parameter can be scaled to more accurately apply to the destination parameter. For example, a source parameter with a range of 1–100 can be scaled when applied to a parameter with a range of 0–1. The values can also be offset from the source, and the effect can be mixed with the destination value to create different effects. The Link behavior can be applied to parameters animated with behaviors or keyframes; however, it does not affect the parameter when the Start Values or End Values are zero. When using the Link behavior to control an object’s position parameter, the linked coordinates are based on the center point of the current group. So when an object is linked to another object in the same group, it will share an identical position. However, if the source object is in a different group, the coordinates might appear offset in space. 426 Chapter 9 Using Behaviors If your goal is to match an identical position across groups with different center points, you can create an invisible dummy object in the group containing the source, link it to the source object, then use the Match Move behavior to copy the dummy object’s position to that of the intended target. Match Move compensates for inter-group position offsets and provides the option to attach one object to another or to mimic the source object’s transformations. For more about Match Move, see Motion Tracking Behaviors. You can also link to the group’s coordinates instead of the object’s, and use the Offset parameters in the Link behavior to obtain the position you want. However, if that group is subsequently added to another group, the linked object might not move as expected. Note: When a link behavior is added, it is not enabled by default. To activate the behavior, click the activation checkbox beside the behavior name in the Behaviors Inspector. Parameters in the Inspector Source Object: The object in which the source parameter resides. Click the To pop-up menu to select from the objects in the current project. Source Parameter: The Source Parameter (Compatible Parameters) pop-up menu shows the parameter that serves as the source for the Link behavior and can be used to select a new source parameter. Only parameters with the same value type and number of attributes as the parameter selected in the Apply To (Target Parameters) pop-up menu appear here. Note: When possible, Source Parameter defaults to the parameter chosen in the Apply To row (described below). Important: Changing the Apply To (Target Parameters) setting changes which parameters appear in the Source Parameter pop-up menu. If you cannot find the parameter you are looking for, you might need to choose a Target Parameter to which you can link. Apply To: The Apply To (Target Parameters) pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. Because only some parameters can be linked, you must set the Apply To parameter before eligible parameters will appear in this pop-up menu. Apply Mode: Pop-up menu to specify how the values from the source parameter affect the target parameter. The choices include: • Add to source: Choosing this option will add the source parameter value to the existing value of the target parameter. • Multiply by source: Choosing this option will multiply the source parameter value with the existing value of the target parameter. • Replace with source: Choosing this option will replace the existing value of the target parameter with that of the source parameter. Chapter 9 Using Behaviors 427 Mix Over Time: Pop-up menu to set how rapidly the source parameter values begin to affect the target parameter. Options include: Ease In, Ease Out, Ease In/Out, Accelerate, Decelerate, Accelerate/Decelerate, and Custom Mix. Mix Time Range: When the Mix Over Time is set to an Ease or Acceleration option, this slider controls over how many frames the ease or acceleration occurs. Tip: Ease In and Accelerate begin at the In point of the Link behavior, and Ease Out and Decelerate end at the Out point of the Link behavior. Therefore, you can trim the Link behavior in the Timeline to specify where the ease or acceleration begins and/or ends. Custom Mix: When the Mix Over Time parameter is set to Custom Mix, this slider can be animated to create a user-determined mix between the source and target parameter values. Scale: Slider to specify a value to be multiplied with the Source parameter before it is applied to the target. Apply Link When: Pop-up menu that enables you to limit when values from the source are applied to the target. There are five choices: • Any source value: When this item is selected, no limits are placed on the source parameter values. An offset slider for each setting associated with the source parameter appears at the bottom of the Behaviors Inspector. If the source parameter has a single slider, such as Opacity, a single offset slider appears. If the source parameter has multiple sliders, such as Position X-Y-Z, offset sliders for each of those settings appear. • Source value above minimum: When this item is selected, the link applies only when the source value exceeds a defined minimum value. If the source value falls below the defined minimum, the link behavior stops. When selected, the Clamp Source Values Within Range checkbox as well as offset and minimum sliders for each setting associated with the source parameter appear at the bottom of the Behaviors Inspector. If the source parameter has a single slider, such as drop shadow Blur, an offset and a minimum slider appear for that setting. If the source parameter has multiple sliders, such as Scale X-Y-Z, offset and minimum sliders appear for each of those settings. • Source value below maximum: When this item is selected, the link applies only when the source value stays below a defined maximum value. If the source value exceeds the defined maximum, the link behavior stops. When selected, the Clamp Source Values Within Range checkbox as well as offset and maximum sliders for each setting associated with the source parameter appear at the bottom of the Behaviors Inspector. If the source parameter has a single slider, such as shape Roundness, an offset and a maximum slider appear for that setting. If the source parameter has multiple sliders, such as Rotation X-Y-Z, offset and maximum sliders appear for each of those settings. 428 Chapter 9 Using Behaviors • Source value between min and max: When this item is selected, the link applies only when the source value stays within a defined range. If the source value falls below the defined minimum, or exceeds the defined maximum, the link behavior stops. When selected, the Clamp Source Values Within Range checkbox as well as offset, minimum, and maximum sliders for each setting associated with the source parameter appear at the bottom of the Behaviors Inspector. If the source parameter has a single slider, such as shape Feather, one set of three sliders (offset, minimum, and maximum) appears for that setting. If the source parameter has multiple sliders, such as Fill Color (red, green, blue), sets of three sliders appear for each of those settings. • Source value outside min and max: When this item is selected, the link applies only when the source value stays outside of a defined range. If the source value falls above the defined minimum, or below the defined maximum, the link behavior stops. When selected, the Clamp Source Values Within Range checkbox as well as offset, minimum, and maximum sliders for each setting associated with the source parameter appears at the bottom of the Behaviors Inspector. If the source parameter has a single slider, such as Outline Width, one set of three sliders (offset, minimum, and maximum) appears for that setting. If the source parameter has multiple sliders, such as Shear X-Y, sets of three sliders appear for each of those settings. Clamp Source Value Within Range: This checkbox becomes available when the Apply Link pop-up menu is set to a choice requiring a minimum or maximum value. When selected, values that exceed the defined range are pinned to the highest or lowest allowable setting. (Parameter) offset: This slider allows you to create a constant offset between the source parameter value and the value applied to the target parameter. (Parameter) min: When the Apply Link When pop-up menu is set to “Source value above minimum,” “Source value between min and max,” or “Source value outside min and max,” a “min” slider appears for each component of the source parameter. Adjusting this slider defines a minimum value to limit when the link behavior is active. (Parameter) max: When the Apply Link When pop-up menu is set to “Source value below maximum,” “Source value between min and max,” or “Source value outside min and max,” a “max” slider appears for each component of the source parameter. Adjusting this slider defines a maximum value to limit when the link behavior is active. HUD Controls The HUD lets you set all parameters and change the parameter source and target. Chapter 9 Using Behaviors 429 Logarithmic The Logarithmic parameter behavior is the inverse of the Exponential behavior. Like the Exponential behavior, it creates more natural animations when scaling objects, especially when using high values. The Logarithmic parameter behavior applies a mathematical function to create a logarithmic curve (rather than linear) between the two values—the effect ramps up quickly, and then the effect slows down. This allows the animation to progress slowly when the scale values are small and speed up when the scale values are large. The Logarithmic behavior can be applied to parameters animated with behaviors or keyframes; however, Logarithmic does not affect the parameter unless the Start Values or End Values are nonzero. Tip: When applied to parameters other than Scale, the Logarithmic parameter behavior creates more organic animations than other interpolation modes. Note: You can also change the interpolation modes of keyframes to Logarithmic. For more information, see Modifying Curves. Parameters in the Inspector Start Value: The value that’s added to the parameter at the first frame of the Logarithmic behavior. End Value: The value the Logarithmic behavior reaches at the last frame of the behavior. Over the life of the behavior, the parameter that the Logarithmic behavior is applied to makes a transition from the Start Value to the End Value, plus the original value. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the object to its original parameter. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you set the start and end values and change the parameter assignment. Related Behaviors • Exponential • Ramp 430 Chapter 9 Using Behaviors MIDI The MIDI behavior allows you to edit and animate object parameters using standard MIDI devices, such as a synthesizer. For the true motion graphics mixmaster. Parameters in the Inspector Control Type: Specifies the mode of the MIDI controller. The three available control types are: • Note: This mode is displayed when the control is a keyboard key on the MIDI device. • Controller: This mode is displayed when the control is a knob, dial, key, slider, or foot pedal on the MIDI device. • Learning: This mode is used to “teach” Motion which control (such as a knob, dial, or key) you want to use on the MIDI device to manipulate the parameter to which the MIDI behavior is applied. When in Learning mode, the first knob, dial, or key that you adjust on the MIDI device is set as the control. Note: When the MIDI behavior is first applied, Learning is the default control type. ID: Displays the identification number of the MIDI control (such as a knob, dial, or key) that you are manipulating. Value: When you are manipulating the MIDI control, displays the standard MIDI value between 0 and 1. Scale: Increasing the Scale value multiplies the Value parameter in the MIDI behavior. This means that when Scale is increased, the MIDI control has a larger range of value and a greater effect on the parameter it’s controlling. For example, when you use a knob to adjust an object’s rotation, the default rotation value range (when Scale is set to 1) for a full turn of the knob might only be 30 percent. When the Scale value is increased to 13, the rotation value of a full turn of the knob is increased to 370 degrees. Apply To: The Apply To pop-up menu (parameter assignment control) shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD controls allow you to adjust the Control Type, ID, Value, and Scale parameters, as well as change the parameter assignment. Applying the MIDI behavior The MIDI behavior is applied in the same way as all other Parameter behaviors. In the following examples, the MIDI parameter behavior is used to adjust an object’s opacity and rotation. Note: This behavior can only be used if you have a MIDI device correctly connected to your computer. To use the MIDI behavior to adjust an object’s opacity 1 Select an object, then select the Opacity parameter in the Properties Inspector. Chapter 9 Using Behaviors 431 2 Control-click the parameter, then choose MIDI from the shortcut menu. The MIDI parameters are displayed in the Behaviors Inspector. By default, Control Type is set to Learning. Like all other Parameter behaviors, the Apply To field displays the parameter to which the behavior is applied. 3 On your MIDI device, tweak the control (such as the knob, dial, or key) you want to use as the controller for the Opacity parameter. Note: When in Learning mode, the first control adjusted on the MIDI device is set as the control. To reset the selected controller, choose Learning from the Control Type pop-up menu, and adjust another control on the MIDI device. The identification number of the MIDI control is displayed in the ID field. The value range of the control is 0 to 127, the default MIDI control value. Because an object’s opacity can only fall between 0 (completely transparent) to 100 (completely opaque), the default MIDI values are sufficient to adjust the parameter. To use the MIDI parameter behavior to adjust an object’s rotation 1 Select an object, then select the Rotation parameter in the Properties Inspector. 2 Control-click the parameter, then choose MIDI from the shortcut menu. 3 On your MIDI device, tweak the control (knob, dial, key, and so on) you want to use as the controller for the Rotation parameter. As mentioned above, the default Value range is 0 to 1. Because the Rotation value of an object can be much larger, you can use the Scale parameter to multiply the Value range. 4 To give the control more sensitivity, increase the Scale value. Negate Inverts the value of each keyframe and behavior effect in the parameter to which it’s applied by multiplying the parameter by –1. The Negate behavior basically flips each parameter value to its opposite. Animation paths are flipped, rotation is reversed, and any effect’s parameter is changed to its opposite. 432 Chapter 9 Using Behaviors For example, applying the Negate behavior to the Position parameter of an object with an animation path results in the animation path moving to the opposite quadrant of the Canvas. Note: If you want to reverse the motion taking place on an animation path, rather than flipping the shape of the animation path itself, use the Reverse parameter behavior. Parameters in the Inspector Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD control allows you to change the parameter assignment. Related Behaviors • Average • Reverse Oscillate The Oscillate behavior animates a parameter by cycling it between two values. You can customize how wide apart the high and low values are as well as the number of oscillations per minute. The Oscillate behavior can create all kinds of cyclical effects. For example, if you apply the Oscillate behavior to the rotation property of an object, it will rock back and forth. This happens because the rotation property cycles back and forth between the original rotation value plus and minus the Amplitude value that’s set in the Oscillate behavior. Applying the Oscillate behavior to the X value of the Scale parameter instead causes the width of the object to cycle, and it repeatedly stretches and compresses for the duration of the behavior. The Oscillate behavior is additive, meaning that the value generated by this behavior is added to the original value of the parameter to which it’s applied. Chapter 9 Using Behaviors 433 Parameters in the Inspector Wave Shape: A pop-up menu that lets you choose the shape of the oscillation’s wave. The choices are Sine (default), Square, Sawtooth, and Triangle. • Sine: The default wave shape, the sine wave creates a smooth animation between values. For example, if Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Sine, the object gracefully fades in and out. • Square: The square wave creates abrupt changes in values. For example, when Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Square, the object flashes on and off (like turning a light switch on and off). • Sawtooth: The Sawtooth wave ramps upward over time and then drops sharply. For example, when Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Sawtooth, the object fades in slowly and fades out abruptly (like using a light dimmer to fade up a light, and then flicking the power switch off). 434 Chapter 9 Using Behaviors • Triangle: Similar to the sine wave, a triangle wave creates a smooth animation between values but with sharper changes at the transitions. For example, when Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Triangle, the object fades in and out more acutely than the sine wave. Phase: A slider that lets you adjust the point of the specified oscillation where the behavior starts. This parameter allows you to put multiple objects with identical Oscillate behaviors out of phase with one another so they don’t all look the same. Amplitude: A slider that lets you adjust the maximum values that the parameter oscillates between. The parameter swings between the amplitude value and the negative of the amplitude value. Higher values result in more extreme swings from the beginning to the ending of each oscillation. Speed: A slider that lets you adjust the speed at which the oscillation occurs, in oscillations per minute. Higher values result in faster oscillations. Half Range: When this checkbox is selected, the sine wave (or other wave shape) is essentially cut in half and does not cross the value of 0. For example, when Amplitude is set to 100, the parameter oscillates between 100 and –100. When Half Range is selected, however, the parameter oscillates between 100 and 0. When Amplitude is set to –100, the parameter oscillates between –100 and 0. Tip: When you are oscillating position parameters, set Wave Shape to Sine and enable Half Range to create a bouncing effect. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames. Chapter 9 Using Behaviors 435 End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the object to its original parameters. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you adjust the Phase, Amplitude, Speed, and Half Range parameters as well as change the parameter assignment of the Oscillate behavior. Related Behaviors • Ramp • Rate Creating a Decaying Oscillation When you are oscillating an object’s rotation or position, a common effect is to “decay” or “dampen” the animation over time. This means that the animation gradually slows or comes to a stop. You can achieve this effect using keyframes to slow the amplitude of the oscillation. To decay an oscillating rotation using keyframes 1 Go to the frame where you want the animation to begin, then enable Record (press A). 2 Set the Amplitude to the maximum value you want to use in your project. Note: When Record is enabled, any value change to a parameter using the Inspector, HUD, or Canvas creates a keyframe. 3 Go to the frame where you want the animation to come to a stop and set the Amplitude value to 0. 436 Chapter 9 Using Behaviors When the object is selected, you can see the dampening of the animation—caused by the keyframed Amplitude parameter—in the Keyframe Editor (when Animated is chosen from the pop-up menu above the Keyframe Editor). The following illustration shows the keyframed Amplitude parameter of the Oscillate behavior superimposed over the resulting change to the Oscillate curve itself. Keyframed Amplitude parameter Affected Oscillate behavior curve Note: The Oscillate behavior must be selected for its curve to be visible in the Keyframe Editor. Quantize The Quantize behavior lets you create an incremental animation in any keyframed or behavior-influenced parameter. For example, if opacity is animated so an object gradually fades in over time, you can add the Quantize behavior to make the object become opaque in steps. Note: The Quantize behavior only works with animated parameters. Parameters in the Inspector Step Size: A value slider that defines the size of the steps, based on the units of the parameter to which it is applied. For example, when Quantize is applied to rotation, the steps are in degrees (even though it is not a dial control). When applied to position, the steps are in pixels. The following left screenshot shows the projected path (the red line) of a layer with an applied Throw behavior. The right image displays the same animation path after the Quantize behavior is added. In this example, the Step value is set to 90. Chapter 9 Using Behaviors 437 Offset: A slider that offsets the steps. For example, when Quantize is applied to a Position parameter and Step Size is set to 100, an object “steps” in increments restricted to 100 pixels; thus, the step offset is 100, 200, 300, and so on. If Offset is set to 50, the step offset is restricted to 50, 150, 250, and so on. Apply To: The Apply To pop-up menu shows the parameter affected, and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you define the step size, offset, and parameter assignment. Ramp The Ramp behavior lets you create a gradual transition in any parameter that can be animated, from the Start Value to the End Value. The speed of the transition is defined by the length of the Ramp behavior in the Timeline, and by the behavior’s end value. Additional parameters allow you to define how the transition occurs, whether it’s at a single continuous speed, or whether it accelerates over time. Ramp is a versatile behavior. If you apply it to the Scale property, it works like the Grow/Shrink behavior. If you apply it to the Opacity property, you can fade an object in or out in different ways. Although you can use the Ramp behavior to mimic other Motion behaviors, it can be applied to any parameter. Note: This behavior is additive, meaning that the value it generates is added to the original value of the parameter to which it’s applied. For example, to animate different segments of a bar graph so each segment grows to a specific length, apply the Ramp behavior to the each bar’s Crop parameter. After you arrange the different bars with their starting Crop values, the Ramp behaviors move the Top Crop parameter up, giving the illusion that each bar is growing. Set the End Value parameter of each Ramp behavior to the length you want each bar to reach, and you’re done! Before After using Ramp to animate Top Crop parameters 438 Chapter 9 Using Behaviors Parameters in the Inspector Start Value: The value that’s added to the parameter at the first frame of the Ramp behavior. End Value: The value the Ramp behavior reaches at the last frame of the behavior. Over the life of the behavior, the parameter the Ramp behavior is applied to makes a transition from the Start Value to the End Value, plus the original value. Curvature: This parameter lets you ease the acceleration with which the Ramp behavior transitions from the Start Value to the End Value. Higher Curvature values result in an ease in/ease out effect, where the value slowly begins the transition, gradually speeds up as the behavior continues, then gradually slows down to a stop as it reaches the end. Because Curvature is defined by the length of the behavior in the Timeline, it does not affect the overall duration of the effect. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the object to its original parameter. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you adjust the Ramp’s Start Value, End Value, and Curvature parameters, as well as change the parameter assignment. Related Behaviors • Oscillate • Rate Randomize Creates a continuous sequence of randomly increasing and decreasing values, based on the parameters defining the range and type of values generated. Although the values created with this behavior appear to be random, they’re predetermined by the parameter settings you’ve chosen. As long as you don’t change the parameters, the frame-by-frame values created by this behavior remain the same. If you don’t like the randomly generated values, click the Generate button in the Behaviors Inspector to pick a new random seed number. This number is used to generate a new sequence of values. Chapter 9 Using Behaviors 439 The Apply Mode parameter determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Randomize behavior to modify a parameter’s preexisting values. The Randomize behavior is useful for creating jittery effects, such as twitchy rotation, flickering opacity, and other effects requiring rapid and varied changes over time that would be time-consuming to keyframe. The Randomize behavior can be modified with other behaviors, such as Average and Negate, to exercise further control over the values generated. Parameters in the Inspector Amount/Multiplier: This parameter is set to Amount when the Apply Mode is set to Add, Subtract, or Add and Subtract, and is set to Multiplier when the Apply Mode is set to Multiply. This parameter defines the maximum value the Randomize behavior will generate. Apply Mode: A pop-up menu that determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Randomize behavior to modify a parameter’s preexisting values. The options are Add, Subtract, Multiply, or Add and Subtract. Frequency: A slider that lets you adjust the amount of random variation per second. Higher values will generate faster variations, whereas lower values will generate slower variations. Noisiness: Adds an additional overlay of random variance to the Frequency you’ve set. Higher Noisiness values result in more erratic variations in the affected parameter. Link: This parameter appears when you apply this behavior to a two-dimensional parameter (such as Scale) or three-dimensional parameter (such as Position) that consists of X, Y, and/or Z values. Turn this checkbox on to keep the behavior’s effect on each value proportional. Affect Subobjects: This parameter only appears when the Randomize behavior is applied to a parameter of the Sequence Replicator behavior. When Affect Subobjects is selected, each object has a different random behavior. When Affect Subobjects is deselected, each object undergoes the same animation. Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames. 440 Chapter 9 Using Behaviors End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the last random value generated by this behavior for the remaining duration of the object. Trimming the end of the behavior resets the parameter to its original value. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you adjust the Amount, Multiplier, Frequency, Noisiness, Link (for multidimensional parameters), Start Offset, and End Offset parameters, as well as parameter assignment. Related Behaviors • Random Motion • Wriggle Rate This behavior increases a parameter’s value over time, with the rate of increase determined by the Rate slider. Unlike the Ramp behavior, this behavior has no end value, but continues to increase or decrease the parameter it’s applied to until the end of the parameter. Note: To decrease a parameter over time, enter a negative value into the Rate parameter. Parameters in the Inspector Rate: A value slider that lets you set a rate of increase over time for the affected parameter. Measured in percentage increase per second. Curvature: This parameter lets you ease the acceleration with which the Rate behavior transitions from the Start Value to the End Value. Higher Curvature values result in an ease in/ease out effect, where the value slowly begins the transition, gradually speeds up as the behavior continues, then gradually slows down to a stop as it reaches the end. Because Curvature is defined by the length of the behavior in the Timeline, it does not affect the overall duration of the effect. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the last random value generated by this behavior for the remaining duration of the object. Trimming the end of the behavior resets the parameter to its original value. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. Chapter 9 Using Behaviors 441 HUD Controls The HUD has controls for Rate, Curvature, and parameter assignment. Related Behaviors • Oscillate • Ramp Reverse Unlike the Negate behavior, which inverts the value of the parameter to which it’s applied, the Reverse behavior reverses the direction of any animation that affects a parameter, whether it’s caused by behaviors or keyframes. For example, when you apply the Reverse behavior to path animation that begins at the left and moves to the right, the animation path won’t move, but the object instead begins at the right and moves to the left. The Reverse behavior basically switches the beginning and ending points of animated objects. Parameters in the Inspector Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD control allows you to change the parameter assignment. Related Behaviors • Average • Negate Stop The Stop behavior suspends parameter animation (created by keyframes or applied behaviors) of an object. For example, if you assign the Stop parameter behavior to the Position parameter of an object moving across the screen and rotating, the object ceases to move across the screen but continues to rotate. Each behavior’s effect on the object is frozen at the first frame of the Stop behavior in the Timeline. Keyframes applied to that parameter cease to have any effect for the duration of the Stop behavior in the Timeline. If the Stop behavior is shorter than the object to which it’s applied, all keyframes and behaviors affecting that channel immediately take effect after the last frame of the Stop behavior. For more information on using the Stop behavior, see Using the Stop Behavior. Parameters in the Inspector Apply To: The Apply To pop-up menu shows the parameter being stopped and can be used to reassign the Stop behavior to another parameter. HUD Controls The HUD control allows you to change the parameter assignment. 442 Chapter 9 Using Behaviors Track This behavior allows you to apply tracking data to a parameter of an effect, such as the center point of the Light Rays filter. For more information on using the Track behavior, see Track Behavior. Wriggle This behavior works similarly to the Randomize behavior, but with a slower effect. Tip: A Wriggle behavior applied to an Opacity parameter set to 100% does not have much effect. This is because there isn’t much room to “wriggle.” For a better result, set the Opacity to 0, or change the Apply Mode to Subtract. Parameters in the Inspector Amount/Multiplier: This parameter is set to Amount when the Apply Mode is set to Add, Subtract, or Add and Subtract. This parameter is set to Multiplier when the Apply Mode is set to Multiply. This parameter defines the maximum value that the Wriggle behavior generates. Apply Mode: A pop-up menu that determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Wriggle behavior to modify a parameter’s preexisting values. The options are Add, Subtract, Multiply, or Add and Subtract. Frequency: A slider that lets you adjust the amount of random variation per second. Higher values generate faster variations, whereas lower values generate slower variations. Wriggle Offset: A slider that allows you to offset the sequence of random values when you want to apply the same Wriggle behavior to multiple objects. By offsetting each object’s version of the Wriggle behavior, you can prevent objects from moving in sync. Noisiness: This slider adds an additional overlay of random variance to the Frequency you’ve set. Higher Noisiness values result in more erratic variations in the affected parameter. Link: This parameter appears when you apply the Wriggle behavior to a two-dimensional parameter (such as Scale) or three-dimensional parameter (such as Position) that consists of X, Y, and/or Z values. Turn this checkbox on to keep the behavior’s effect on each value proportional. Affect Subobjects: This parameter only appears when the Wriggle behavior is applied to a parameter of the Sequence Replicator behavior. When Affect Subobjects is selected, each object has a different wriggle behavior. When Affect Subobjects is deselected, each object undergoes the same animation. Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. Chapter 9 Using Behaviors 443 Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. This parameter is measured in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the last random value generated by this behavior for the remaining duration of the object. Trimming the end of the behavior resets the parameter to its original value. Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter. HUD Controls The HUD lets you adjust the Amount, Multiplier, Frequency, Wriggle Offset, Noisiness, Link (for multidimensional parameters), Start Offset, and End Offset parameters, as well as change the parameter assignment. Related Behaviors • Random Motion • Randomize Retiming Behaviors Retiming behaviors are applied to image sequences, QuickTime movies, and clone layers to change their timing. Retiming effects include creating hold frames, changing playback rate, reversing a clip, creating stutter or strobe effects, and so on. Important: Retiming behaviors can only be applied to QuickTime movies, image sequences, or clone layers. In other words, a Retiming behavior cannot be applied to a particle emitter, but it can be applied to an instance of the particle emitter. For more information on cloning layers, see Making Clone Layers. Retiming Behaviors Versus Timing Controls in the Inspector When a clip is selected, a group of Timing parameters appears in the Properties Inspector. These controls allow you to do some of the same effects as the Retiming behaviors, such as slowing down or speeding up, looping, or reversing a clip; however, the Timing controls affect the entire clip. The power of the Retiming behaviors is that you can define which portion of the clip is affected by the behavior. Any timing changes made to a clip using the Inspector’s Timing controls are respected by the Retiming behaviors. For example, if you changed the speed of the clip to 50% in the Timing parameters, a Retiming behavior uses that half-speed clip as its source. For more information on Timing controls in the Inspector, see Retiming. 444 Chapter 9 Using Behaviors The following sections cover the Retiming behaviors: • Flash Frame • Hold Frame • Loop • Ping Pong • Replay • Reverse • Reverse Loop • Scrub • Set Speed • Strobe • Stutter Flash Frame This behavior randomly inserts a user-defined range of random frames (adjacent to the current frame) into the playback of a clip. Parameters in the Inspector Random Frames: A slider that sets the probability that a frame within the duration of the behavior is replaced with a random frame. When this value is set to 0, no random frames are inserted. When set to 100, every frame is random. The default value is 10%. Frame Range: A slider that defines the range from which the random frames are chosen, based around the current frame. The default value is 10 frames. Duration: A slider that sets the duration of the sequence of random frames. The default value is 1, which means 1 random frame is inserted at a time. When Duration is set to 30, for example, 30-frame sequences (chosen from the Frame Range) are randomly inserted. The Duration value overrides the Random Frame count (so a new random frame does not interrupt the sequence). Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new values, based on the other parameters of this behavior. HUD Controls The HUD contains the Random Frames, Frame Range, Duration, and Random Seed parameters. Chapter 9 Using Behaviors 445 Hold Frame The Hold Frame behavior holds the frame at the behavior’s In point for the duration of the behavior. The clip continues playing normally after the behavior’s Out point. For example, if the Hold Frame behavior begins at frame 60 and ends at frame 300, the clip plays normally until frame 59, frame 60 is held for 240 frames, and then normal playback resumes—frame 61 of the clip—at frame 301. The Hold behavior is applied at the current frame, rather than at the start of the object. Parameters in the Inspector Offset: A slider that sets the offset for the hold frame. When set to 0 (the default), the frame at the start of the behavior is the hold frame. When set to 60, however, the frame at the start of the behavior (the hold frame) is the start frame plus 60 frames. This parameter is measured in frames. Tip: Flickering might occur if the Hold Frame behavior is applied to interlaced footage. To avoid this, ensure that Field Order is properly set in the Inspector. To change field order, select the footage in the Media list, open the Media pane in the Inspector, then choose a field order option from the Field Order pop-up menu. HUD Controls The HUD contains the Offset parameter. Loop This behavior loops a segment of the clip within the duration of the behavior. The loop’s starting frame is derived from the start frame of the behavior. For example, if the behavior is applied at the start of a clip, and Loop Duration is set to 30, the first 30 frames of the clip loop repeatedly until the end of the behavior. At the end of the behavior, normal playback resumes from the frame at the end of the loop duration. Parameters in the Inspector Loop Duration: A slider that sets the duration of the looped frames. The default value is 30 frames. HUD Controls The HUD contains the Loop Duration parameter. Ping Pong This behavior “ping-pongs” a segment of the clip within the duration of the behavior. The ping-pong’s starting frame is derived from the start frame of the behavior. For example, if the behavior is applied at the start of a clip, and Duration is set to 30, the first 30 frames of the clip play forward, then play in reverse, then forward, and so on until the end of the behavior. At the end of the behavior, normal playback resumes. 446 Chapter 9 Using Behaviors Parameters in the Inspector Duration: A slider that sets the duration of the ping-pong frames. The default value is 30 frames. HUD Controls The HUD contains the Loop Duration parameter. Replay The Replay behavior resets the playhead at the beginning of the behavior to a specific frame, and then plays the clip normally from that frame. The clip plays back normally after the end of the behavior. This allows you to trigger playback of the clip at different times, without requiring multiple copies of the movie object. Parameters in the Inspector Start From: A pop-up menu that determines whether the replay starts from an absolute frame number or an offset from the frame at the start of the behavior. • Absolute Frame: Sets the replay to start at the frame specified in the Start Time parameter. For example, if the behavior starts at frame 60 of the clip and Start Frame is set to 30, when playback reaches frame 60, the clip starts playback over from frame 30. • Offset Frame: Allows you to offset the start frame of the replay. For example, if the behavior starts at frame 60 of the clip, and Start Frame is set to 30, when playback reaches frame 60, the clip starts playback at frame 90. If Start Frame is set to –30, the clip starts playback over from frame 30. Start Time: A slider that sets the start frame where the replay begins. The default is frame 1. HUD Controls The HUD contains the Start From and Start Time parameters. Reverse This behavior plays the clip or image sequence in reverse. Parameters in the Inspector There are no parameters for this behavior. HUD Controls There are no parameters for this behavior. Reverse Loop This behavior loops a segment of the clip in reverse within the duration of the behavior. If Loop Duration is set to 30 and the behavior begins at frame 1, frames 1–30 are played in reverse, then frames 31–60 are played in reverse, frames 61–90 are played in reverse, and so on. Chapter 9 Using Behaviors 447 Tip: To achieve a nice stutter effect, set Loop Duration to 2. Parameters in the Inspector Loop Duration: A slider that sets the duration of the looped frames to be played in reverse. The default value is 30 frames. HUD Controls The HUD contains the Loop Duration parameter. Scrub Like the Scrub filter, the Scrub behavior moves a virtual playhead around a clip, allowing you to change the timing of the clip without moving it in the Timeline. Additionally, the Scrub behavior allows you to animate the offset parameter using keyframes or Parameter behaviors, often with interesting results. Try applying the Oscillate behavior to the Frame offset, with the Offset From parameter set to Current Frame. Note: You can also apply Parameter behaviors to the Retime Value parameter in the Timing controls for the clip object. The Timing controls are located in the Properties Inspector. Time Remap must be set to Variable Speed to access the Retime Value parameter. Important: Scrub does not affect clip audio. Parameters in the Inspector Frame Offset: Sets the offset of the virtual playhead. Offset From: Sets the position where the virtual playhead is offset. Values can be selected from First Frame or Current Frame. HUD Controls The HUD contains the Frame Offset and Offset From parameters. Set Speed This behavior allows you to change the speed (playback rate) of a clip. The speed specified in the behavior begins at the behavior’s In point and exists for the duration of the behavior. The clip continues playing at its default speed after the behavior’s Out point. For example, if the Set Speed behavior begins at frame 60 and ends at frame 300, the clip plays normally until frame 59, plays back at the rate specified in the behavior from frame 60 to frame 300, and then resumes its default playback speed at frame 301. You can apply an “ease-in” or “ease-out” effect to the speed change. Parameters in the Inspector Speed: A slider that sets the speed of the clip as a percentage. The default is 100% (the clip’s normal speed). A Speed setting of 50% plays the clip at half speed. Note: The Speed parameter can be keyframed to create variable playback rate changes. 448 Chapter 9 Using Behaviors Ease In Time: A slider that sets the number of frames over which the ease in to the speed change occurs (from the start of the behavior). The default value is 20 frames. Ease In Curve: A slider that defines the curvature of the ramp when easing into the speed change. A value of 0 creates a sharp transition to the new speed; a value of 100 creates the smoothest ease in to the new speed. The default is 50%. Ease Out Time: A slider that sets the number of frames over which the ease out of the speed change occurs (from the end of the behavior). The default value is 20 frames. Ease Out Curve: A slider that defines the curvature of the ramp when easing out of the speed change. A value of 0 creates a sharp transition from the new speed to the original speed; a value of 100 creates the smoothest ease out. The default is 50%. HUD Controls The HUD contains the Speed, Ease In Time, Ease In Curve, Ease Out Time, and Ease Out Curve parameters. Strobe The Strobe behavior simulates the look of a strobe light or lower frame rate video by holding a number of frames as defined by the Strobe Duration parameter over the playback of the clip. For example, when Strobe Duration is set to 10, frame 1 is held for 10 frames, frame 11 for 10 frames, frame 21 for 10 frames, and so on. The frames in between (2–10, 12–20, 22–30, and so on) do not appear. Parameters in the Inspector Strobe Duration: A slider that sets the number of frames to hold. A value of 1 plays the clip at normal speed. The default value is 5 frames. HUD Controls The HUD contains the Strobe Duration parameter. Stutter This behavior randomly inserts hold frames, of random durations, into the playback of a clip. The effect is similar to a tape that sticks during play in a videocassette recorder. Parameters in the Inspector Stutter Amount: A slider that sets the probability that a hold frame is generated at the given frame. When set to 0%, no hold frames are created; when set to 100%, every frame is a hold frame. Values between 0 and 100 indicate the probability of frames (within the duration of the behavior) that are replaced by hold frames. The default value is 10%. Duration Range: A slider that sets the maximum duration of hold frames. A value of 1 inserts single-frame hold frames at a frequency determined by the Stutter Amount parameter. Increasing the Duration Range increases the range of hold frames. For example, a value of 30 creates random hold frames with a minimum of 1 frame and a maximum of 30 frames. The default value is 3 frames. Chapter 9 Using Behaviors 449 Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new values, based on the other parameters of this behavior. HUD Controls The HUD contains the Stutter Amount, Duration Range, and Random Seed parameters. Simulation Behaviors These behaviors perform one of two tasks. Some Simulation behaviors, such as Gravity, animate the parameters of an object in a way that simulates a real-world phenomenon. Other Simulation behaviors, such as Attractor and Repel, affect the parameters of objects surrounding the object to which they’re applied. These behaviors allow you to create some very sophisticated interactions among multiple objects in your project with a minimum of adjustments. Like the Basic Motion behaviors, Simulation behaviors also affect specific object parameters. Examples include Attractor, Gravity, and Repel. Important: Several Simulation behavior parameters contain object wells into which you drag target objects used as attractors, repellers, orbiters, and so on. Dragging an object to a well can be tricky—be sure to click the object name in the Layers list and immediately drag the object to the object well (without releasing the mouse button). The behavior must remain active even though you are dragging another object in the Layers list. If you click the object in the Layers list and release the mouse button, that object becomes selected, and the behavior’s parameters are no longer displayed. This applies to all wells, including mask source and image wells. The following sections cover the Simulation behaviors: • Align To Motion • Attracted To • Attractor • Drag • Drift Attracted To • Drift Attractor • Edge Collision • Gravity • Orbit Around • Random Motion • Repel • Repel From • Rotational Drag 450 Chapter 9 Using Behaviors • Spring • Vortex • Wind Align To Motion The Align To Motion behavior changes the rotation of an object to match changes made to its direction along an animation path. This behavior is meant to be combined with Simulation behaviors that animate the position of an object or with a keyframed animation path you create yourself. Note: The Align to Motion behavior does not work on objects animated using the Motion Path behavior. Instead, use the Snap Alignment to Motion behavior (in the Basic Motion subcategory). Before After using Align to Motion Unlike the Snap Alignment to Motion behavior, which produces absolute changes in rotation that precisely match changes in direction, Align To Motion has a springy reaction and creates a more lively effect. In the above example, the fish travels along the keyframed animation path, but it isn’t aligned to the animation path (notice the rotation handle). Using the Align To Motion behavior, its angle of rotation moves so it points in the direction of the animation path. By adjusting the Drag parameter, you can make it careen wildly about its anchor point as it goes around curves in the animation path. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Rotation Axis: A pop-up menu that lets you rotate the object around the X, Y, or Z axis. You can also select All to rotate the object around all three axes. The default rotation axis is Z. Chapter 9 Using Behaviors 451 Axis: A pop-up menu that lets you specify whether the object aligns to its horizontal or vertical axis. Invert Axis: A checkbox that flips the orientation with which the object aligns to the motion. Spring Tension: A slider that adjusts how quickly the object’s rotation changes to match a change in the object’s direction. Lower values create a delay between a change to an object’s position and its subsequent change in rotation. Higher values create more responsive changes in rotation. Drag: A slider that adjusts whether the change in rotation made by this behavior overshoots the new direction of the object. Low drag values result in springy changes in rotation, where the object rotates back and forth as it overshoots changes in direction. High drag values dampen this effect, making the object’s rotation stick more closely to the changes made in rotation. Higher values also cause the object’s rotation to lag behind the object’s change in position. HUD Controls The HUD has controls for the Rotation Axis, Axis, Invert Axis, Spring Tension, and Drag parameters. When applied to a group or layer that contains multiple objects (such as particles, text, or a replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Snap Alignment to Motion Attracted To This behavior is part of a group of Simulation behaviors that let you create complex animated relationships between two or more objects. These behaviors are extremely powerful and allow complicated effects to be created with a minimum of steps. An object with the Attracted To behavior moves toward a single specified target, the object of attraction. Additional parameters allow you to adjust the area of influence that defines how close an object must be to move toward the object of attraction, and how strongly it is attracted. Target object Resulting animation path Object with Attracted To behavior 452 Chapter 9 Using Behaviors The Drag parameter lets you define whether attracted objects overshoot and bounce about the attracting object, or whether they eventually slow down and stop at the position of the target object. You can apply two or more Attracted To behaviors to a single object, each with a different object of attraction, to create tug-of-war situations where the object bounces among all objects it’s attracted to. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Object: An image well that defines the object of attraction. To set the defined target object, drag the object from the Layers list to the Object well in the Attracted To HUD or Inspector. In the Layers list, you can also drag the target object onto the Attracted To behavior. Strength: A slider defining the speed at which the object moves toward the object of attraction. With a value of 0, the object doesn’t move at all. The higher the value, the faster the object moves. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Object attraction falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance attracted objects overshoot the object of attraction. Lower Drag values result in the object overshooting the object of attraction, moving past and then careening back around toward the target object again and again. Higher Drag values result in the object coming to rest sooner. Chapter 9 Using Behaviors 453 Include X, Y, and Z: Buttons that allow you to specify the axes on which the affected object (or objects) moves around the object to which it is attracted. When Z is enabled, the object moves about its attractor object in Z space. HUD Controls The HUD has an Object well you can use to assign an object of attraction, as well as Strength, Falloff Type, Falloff Rate, Influence, Drag, and axis assignment parameters. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Attractor • Drift Attracted To • Drift Attractor • Orbit Around • Spring • Vortex Attractor If you apply an Attractor behavior to an object, other objects that lie within the area of influence move toward it. You can manipulate the strength with which other objects are attracted, as well as the distance required for attraction to begin. Start of Attractor effect End of Attractor effect (motion paths shown) By default, objects overshoot the object of attraction and bounce around, never coming to rest. The Drag parameter lets you adjust this behavior, changing whether attracted objects overshoot and bounce around, or whether they eventually slow down and stop at the position of the target object. The Attractor behavior can affect all objects in the Canvas that fall within the area of attraction, or you can limit its effect to a specific list of objects by using the Affect parameter. 454 Chapter 9 Using Behaviors The Attractor behavior can also be applied to objects in motion. If you animate the position of the target object to which you’ve applied the Attractor behavior, all other objects in the Canvas continue to be attracted to its new position. Parameters in the Inspector Affect: A pop-up menu that limits which objects in your project are affected by the Attractor behavior. There are three options: • All Objects: All objects in the Canvas are affected by the Attractor behavior. • Related Objects: The default setting. Only other objects in the same group as the object of attraction are affected. • Specific Objects: Only objects appearing in the Affected Objects list are affected by the Attractor behavior. Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior when the Specific Objects option is selected in the Affect pop-up menu. To remove an item from the list, select the item and click Remove. • Layer: This column lists the name of the layer containing the object. • Name: This column lists the name of the object. Strength: A slider defining the speed with which attracted objects move toward the target object. With a value of 0, attracted objects don’t move at all. The higher the value, the faster attracted objects move. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Object attraction falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance attracted objects overshoot the object of attraction. Lower Drag values result in the object overshooting the object of attraction, moving past and then careening back around toward the target object again and again. Higher Drag values result in the object coming to rest sooner. Chapter 9 Using Behaviors 455 Include X, Y, and Z: Buttons that allow you to specify the space in which the object (or objects) moves toward the target object. For example, when X and Y are enabled, the object moves in the XY plane; when Y and Z are enabled, the object moves in the YZ plane. HUD Controls The HUD lets you adjust the Affect, Strength, Falloff Type, Falloff Rate, Influence, Drag, and axis assignment parameters. Related Behaviors • Attracted To • Drift Attracted To • Drift Attractor • Orbit Around • Spring • Vortex Drag This behavior lets you simulate the force of friction on a moving object, slowing it down over time. Applying the Drag behavior is an easy way to decelerate objects with multiple behaviors that create complex motion. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Amount: Sliders that can be used to slow down an object over time, causing it to eventually come to a stop. Higher Drag values result in the object coming to rest sooner. Click the Amount disclosure triangle to adjust the drag applied to the X, Y, and Z values separately. An example of this is to create a situation where an object’s vertical speed slows down faster than its horizontal speed. Include X, Y, and Z: Buttons that allow you to specify the space in which drag is in effect. For example, when X and Y are enabled, the object drags in the XY plane; when Y and Z are enabled, the object drags in the YZ plane. HUD Controls The HUD lets you adjust the amount of drag and axis assignment. When applied to an object that contains multiple objects, such as a group, particles, text, or the replicator, the Affect Subobjects checkbox also appears in the HUD. 456 Chapter 9 Using Behaviors Related Behaviors • Rotational Drag Drift Attracted To Similar to the Attracted To behavior, but by default an object moves toward the object of attraction and comes to rest, rather than overshooting the object of attraction and bouncing around. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Object: An image well that defines the object of attraction. To set the defined target object, drag the object from the Layers list to the Object well in the Drift Attracted To HUD or Inspector. In the Layers list, you can also drag the target object onto the Drift Attracted To behavior. Strength: A slider defining the speed at which the object moves toward the object of attraction. With a value of 0, the object doesn’t move at all. The higher the value, the faster the object moves. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Object attraction falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance attracted objects overshoot the object of attraction. Lower Drag values result in the object overshooting the object of attraction, moving past and then careening back around toward the target object again and again. Higher Drag values result in the object coming to rest sooner. Chapter 9 Using Behaviors 457 Include X, Y, and Z: Buttons that allow you to specify the space in which the affected object (or objects) drifts toward the object to which it is attracted. For example, when X and Y are enabled, the object drifts in the XY plane; when Y and Z are enabled, the object drifts in the YZ plane. HUD Controls The HUD has an Object well you can use to assign an object of attraction, sliders for strength and drag, and axis assignment. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Attracted To • Attractor • Drift Attractor • Orbit Around • Spring • Vortex Drift Attractor Similar to the Attractor behavior, but by default objects within the area of influence move toward the object of attraction and come to rest, rather than overshooting the object of attraction and bouncing around. Parameters in the Inspector Affect: A pop-up menu that limits which objects in your project are affected by the Drift Attractor behavior. There are three options: • All Objects: All objects in the Canvas are affected by the Drift Attractor behavior. • Related Objects: The default setting. Only other objects in the same group as the object of attraction are affected. • Specific Objects: Only objects appearing in the Affected Objects list are affected by the Drift Attractor behavior. Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior when the Specific Objects option is selected in the Affect pop-up menu. To remove an item from the list, select the item and click Remove. • Layer: This column lists the name of the layer containing the object. • Name: This column lists the name of the object. 458 Chapter 9 Using Behaviors Strength: A slider defining the speed with which attracted objects move toward the target object. With a value of 0, attracted objects don’t move at all. The higher the value, the faster attracted objects move. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Object attraction falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When Falloff Type is set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance attracted objects overshoot the object of attraction. Lower Drag values result in the object overshooting the object of attraction, moving past and then careening back around toward the target object again and again. Higher Drag values result in the object coming to rest sooner. Include X, Y, and Z: Buttons that allow you to specify the space in which the object (or objects) drift toward the target object. For example, when X and Y are enabled, the object drifts in the XY plane; when Y and Z are enabled, the object drifts in the YZ plane. HUD Controls The HUD has controls for Affect, Strength, Drag, and axis assignment. Related Behaviors • Attracted To • Attractor • Drift Attracted To • Orbit Around • Spring • Vortex Chapter 9 Using Behaviors 459 Edge Collision This is a good behavior to use if you’re setting up complex motion simulations and you don’t want your objects exiting the Canvas. Objects with the Edge Collision behavior applied come to a stop or bounce off after colliding with the edge of the Canvas frame. For example, if you apply the Throw behavior to an object and set the velocity to send the object toward the edge of the frame, then apply Edge Collision, the object will bounce off the edge of the frame according to the Bounce Strength parameter. The angle at which the object bounces depends on the angle at which it hits the edge of the frame; the speed it travels after bouncing is set by the Bounce Strength parameter. Note: Edge Collision has no effect on objects larger than the Canvas. Important: By default, the Edge Collision behavior uses the size of the project and the bounding box to determine how the object collides with the edge of the Canvas. For example, in an NTSC Broadcast SD project (720 x 486 pixels), an object bounces off the right and left edges of the project at its bounding box. With groups (particles, text, and objects), only the object’s center is used. You can make the object travel further off the Canvas before it bounces by adjusting the Width and Height parameters. If you’re using this behavior with an object that has an alpha channel that’s smaller than its bounding box, adjust the Crop parameter in the object’s Properties Inspector to fit the bounding box as closely as possible to the edge of the image. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Bounce Strength: The speed at which objects travel after colliding with an edge. A value of 0 causes objects to come to a complete stop when colliding with an edge that’s perpendicular to the direction of motion. Higher values cause an object to move faster after bouncing. This parameter only slows the object in the direction perpendicular to the bounced edge. Active Edges: Six checkboxes define which collision box edges are detected by the Edge Collision behavior. You can turn edges on and off in any combination. • Left Face: Defines the left edge for the collision. • Right Face: Defines the right edge for the collision. • Top Face: Defines the top edge for the collision. • Bottom Face: Defines the bottom edge for the collision. • Back Face: Defines the back edge (in Z space) for the collision. 460 Chapter 9 Using Behaviors • Front Face: Defines the front edge (in Z space) for the collision. Width: A slider that allows you to define a width (the right and left edges of the Canvas) other than the size of project. By default, Width is set to the project size. Height: A slider that allows you to define a height (the top and bottom edges) other than the size of project. By default, Height is set to the project size. Depth: A slider that allows you to define a depth (the back and front faces, in Z space) for the edge collision. By default, Depth is set to 100 pixels. HUD Controls The HUD has controls for Bounce Strength and Width, Height, and Depth. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Gravity This behavior causes an object, or the objects in a group (when Affect Subobjects is selected), to fall over time. The gravitational acceleration can be increased or decreased, resulting in a change to the rate of fall. Objects affected by the Gravity behavior continue to fall past the bottom edge of the Canvas (unless the Edge Collision behavior has been applied). The following illustration shows an object affected by the Throw, Snap Alignment to Motion, and Gravity behaviors all at once. As you can see, the Gravity behavior can be used in conjunction with other behaviors that animate the position of objects to create natural-looking arcs and animation paths that simulate thrown objects falling to the ground. For example, apply the Throw behavior to an object to send it flying through the air, and then apply the Gravity behavior to it to make the object arc up and then fall down past the bottom of the Canvas. Chapter 9 Using Behaviors 461 You can also set the Acceleration parameter to a negative value, effectively applying “anti-gravity” to the object and making it fly up. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Acceleration: A slider defining the strength of gravity affecting the target object. The higher this value, the faster the target object falls. HUD Controls The HUD lets you adjust the Acceleration parameter. When applied to an object containing multiple objects (such as a group, particles text, or a replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Motion Path • Random Motion • Throw • Wind Orbit Around Similar to the Attracted To behavior, the Orbit Around behavior’s default parameter settings give the object sufficient initial velocity to orbit around another object in a perfect circle. Note: Behaviors such as Attractor and Repel applied to nearby objects might disrupt an object with the Orbit Around behavior applied to it. 462 Chapter 9 Using Behaviors Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Object: A well that defines the object to orbit around. To set the defined target object, drag the object from the Layers list to the Object well in the Orbit Around HUD or Inspector. In the Layers list, you can also drag the target object onto the Orbit Around behavior. Strength: A slider defining the speed of the object. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. The default is Linear. • Linear: Object attraction falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: The default value for Orbit Around is 0, which results in a stable orbit. Any other value causes the orbit to decay and the object to spiral into the object of attraction. Chapter 9 Using Behaviors 463 Include X, Y, and Z: Buttons that allow you to specify the space in which the orbit occurs. For example, when X and Y are enabled, the object orbits in the XY plane. In the illustration below, X and Y are selected in the Include parameter. The yellow motion paths represent the motion of the white airplanes around the target object (the orange outlined star). The light gray box represents the boundary of the group. In the illustration below, Y and Z are turned on in the Include parameter. The white airplanes move around the target object in the YZ plane. 464 Chapter 9 Using Behaviors Pole Axis: This parameter becomes available when the X, Y, and Z axes are enabled in the Include parameter. Because all points are at a fixed distance from the target or attractor object (the Pole Axis), the object can be visualized on a sphere of all possible orbits, with the target object at the center of the sphere. The Pole Axis defines the two points on the sphere that the orbit must pass through. • X: Aligns the Pole Axis set to the X plane. • Y: Aligns the Pole Axis to the Y plane. • Z: Aligns the Pole Axis to the Z plane. • Random: When Random is selected, the axes shift to a different random position. Direction: A pop-up menu that lets you set whether objects move around in a clockwise or counterclockwise direction. HUD Controls The HUD has an image well you can use to assign an object of attraction, as well as controls for Strength, Falloff Type, Falloff Rate, Influence, Drag, axis and Pole Axis assignment, and Direction. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Attracted To • Attractor • Drift Attracted To • Drift Attractor • Spring • Vortex Chapter 9 Using Behaviors 465 Random Motion The Random Motion behavior animates the position of an object and makes that object move around the Canvas along a random path. Although the motion created with this behavior appears to be random, it is predetermined by the group of parameters you’ve chosen. As long as you don’t change the parameters, the animation path created by this behavior remains the same. If you don’t like the path that was randomly generated, click the Generate button in the HUD or the Behaviors Inspector to pick a new random seed number. This number is used to generate a new path. The Random Motion behavior is useful for creating varied animation paths for large numbers of objects you want to move at the same time. For example, you can create an arrangement of ten objects in the Canvas and apply the Random Motion behavior to them all. You can also use the Random Motion behavior to add variation to the animation paths created by other behaviors that affect an object’s position. In the following example, adding Random Motion to an object with the Orbit Around behavior results in a more erratic animation path from orbit to orbit, although it still moves around the center as before. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Amount: A slider that determines the speed the object moves by changing the length of the animation path. Higher values result in faster motion and longer animation paths. 466 Chapter 9 Using Behaviors Frequency: A slider that determines the number of twists and turns in the animation path, which can be seen by the crookedness of the resulting animation path. Higher values create more turns in the animation path. Lower values result in straighter animation paths. Noisiness: A slider that determines an additional level of jaggedness along the animation path shape defined by the Amount parameter. Higher values result in a more jagged-looking animation path. Drag: A slider that controls the speed the object moves along the animation path. While the Amount parameter controls the length of the animation path, the Drag parameter shrinks or enlarges the animation path as a whole. Include X, Y, and Z: Buttons that allow you to specify the space in which random motion is in effect. For example, when X and Y are enabled, the motion occurs in the XY plane; when Y and Z are enabled, the motion occurs in the YZ plane. Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new animation paths, based on the values you’ve picked in the other parameters of this behavior. HUD Controls The HUD has controls for the Amount, Frequency, Noisiness, Drag, axis assignment, and Random Seed parameters. When applied to an object that contains multiple objects (such as a group, particles, text, or a replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Motion Path • Gravity • Throw • Wind Chapter 9 Using Behaviors 467 Repel If you apply the Repel behavior to an object, that object pushes away all other objects within the area of influence in the Canvas. The strength with which objects are pushed away can be increased or decreased, as can the distance repelled objects travel. Before After You can also specify which objects are affected by this behavior, creating an effect where only specific objects are moved, while others remain still. The Repel behavior is the opposite of the Attractor behavior, and is part of a group of simulation behaviors that create complex animated relationships between two or more objects. Parameters in the Inspector Affect: A pop-up menu that limits which objects in your project are affected by the Repel behavior. There are three options: • All Objects: All objects in the Canvas are affected by the Repel behavior. • Related Objects: The default setting. Only other objects in the same group as the repelling object are affected. • Specific Objects: Only objects appearing in the Affected Objects list are affected by the Repel behavior. Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior when the Specific Objects option is selected in the Affect pop-up menu. To remove an item from the list, select the item and click Remove. • Layer: This column lists the name of the layer containing the object. • Name: This column lists the name of the object. Strength: A slider defining the speed with which repelled objects move away from the object. With a value of 0, repelled objects don’t move at all. The higher the value, the faster repelled objects move. 468 Chapter 9 Using Behaviors Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Repulsion between objects falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is repelled, and the faster it moves away from the object doing the repelling. Falloff Rate: This value determines how quickly the force of repulsion between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move away from the object of repulsion. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence in pixels. Objects that fall within the area of influence move away from the object of repulsion. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance repelled objects travel away from the repelling object. Include X, Y, and Z: Buttons that allow you to specify the space in which the objects move away from the object with the applied Repel behavior. For example, when X and Y are enabled, the object moves away in the XY plane; when Y and Z are enabled, the object moves away in the YZ plane. HUD Controls The HUD has controls for which objects are affected, as well as for Strength, Falloff Type, Falloff Rate, Influence, axis assignment, and Drag. Related Behaviors • Repel From Repel From Whereas the Repel behavior pushes other objects away, the Repel From behavior has the converse effect, making the object it’s applied to move away from a selected object in the Canvas. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Object: An image well that defines the object to be repelled from. Strength: A slider defining the speed at which the object is repelled. With a value of 0, the object is not repelled at all. The higher the value, the faster the object is repelled. Chapter 9 Using Behaviors 469 Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Repulsion between objects falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is repelled, and the faster it moves away from the object doing the repelling. Falloff Rate: This value determines how quickly the force of repulsion between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move away from the object of repulsion. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence in pixels. Objects that fall within the area of influence move away from the object of repulsion. Objects outside the area of influence remain in place. Drag: A slider that can be used to reduce the distance the object or objects travel away from the repelling object. Include X, Y, and Z: Buttons that allow you to specify the space in which the object moves away from the selected object. For example, when X and Y are enabled, the object moves in the XY plane; when Y and Z are enabled, the object moves in the YZ plane. HUD Controls The HUD has an image well you can use to assign an object to move away from, as well as controls for Strength, Falloff Type, Falloff Rate, Influence, axis assignment, and Drag. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Repel Rotational Drag This behavior is similar to the Drag behavior, except that it affects Rotation instead of position. Rotational Drag simulates friction affecting objects that are spinning due to keyframed or behavior-driven changes to the Rotation parameter. By setting higher Drag values, you can slow rotational changes to an eventual stop. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Amount: A slider that can be used to slow down an object’s rotation over time, causing it to eventually come to a stop. Higher Amount values result in the rotation ending sooner. 470 Chapter 9 Using Behaviors HUD Controls The HUD lets you control the amount of drag. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Drag Spring The Spring behavior creates a relationship between two objects, so an object with the Spring behavior applied to it moves back and forth around a second object. The Attract To parameter defines the object that serves as the target and center of the Spring behavior. Additional parameters let you adjust the speed of the behavior (Spring Tension) and the acceleration of the object at each change in direction (Relaxed Length). If the Attract To object is at rest, the resulting motion is fairly simple and the springing object moves back and forth in a straight line. If the Attract To object is in motion, the springing object’s motion is much more complex, changing direction according to the velocity of the Attract To object. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Attract To: An image well that defines the object of attraction. To set the defined target object, drag the object from the Layers list to the Attract To well in the Spring HUD or Inspector. In the Layers list, you can also drag the target object onto the Spring behavior. Spring Tension: A slider that determines how fast the object is pulled toward the object of attraction. Relaxed Length: The distance from the target object where object attraction diminishes to zero. As the springing object’s distance increases past this point, the force of attraction increases proportionally, to bring it back toward the target object. Repel: With this checkbox selected, when the object gets closer to the object of attraction than the Relaxed Length value, the objects are pushed apart. When this checkbox is deselected, no repelling force is applied. Include X, Y, and Z: Buttons that allow you to specify the space in which the affected object moves back and forth around the assigned object. For example, when X and Y are enabled, the object moves back and forth in the XY plane; when Y and Z are enabled, the object moves back and forth in the YZ plane. Chapter 9 Using Behaviors 471 HUD Controls An image well in the HUD lets you set the Attract To object. You can also control the Spring Tension and Relaxed Length parameters and axis assignment. A checkbox lets you turn on the Repel parameter. When this behavior is applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Attracted To • Attractor • Drift Attracted To • Drift Attractor • Orbit Around • Vortex Vortex The opposite of the Orbit Around behavior. Whereas the Orbit Around behavior causes one object to orbit around another target object, the Vortex behavior exerts a force on all objects surrounding the object to which the Vortex behavior is applied. Parameters in the Inspector Affect: A pop-up menu that limits which objects in your project are affected by the Vortex behavior. There are three options: • All Objects: All objects in the Canvas are affected by the Vortex behavior. • Related Objects: The default setting. Only other objects in the same group as the object of attraction are affected. • Specific Objects: Only objects appearing in the Affected Objects list are affected by the Vortex behavior. Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior when the Specific Objects option is selected in the Affect pop-up menu. To remove an item from the list, select the item and click Remove. • Layer: This column lists the name of the layer containing the object. • Name: This column lists the name of the object. Strength: A slider defining the speed at which the affected objects move about the object of attraction. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. The default is Linear. • Linear: Object attraction falls off in proportion to the object’s distance. 472 Chapter 9 Using Behaviors • Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly. When set to Exponential, the attraction falls off more quickly than when set to Linear. Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area of influence move toward the object of attraction. Objects outside the area of influence remain in place. Drag: The default value for Vortex is 0, which results in a stable vortex. Any other value causes the vortex to decay and the object to spiral into the object of attraction. Include X, Y, and Z: Buttons that allow you to specify the space in which the objects vortex around the target object. For example, when X and Y are enabled, the object circles around in the XY plane; when Y and Z are enabled, the object circles around in the YZ plane. Pole Axis: This parameter becomes available when the X, Y, and Z axes are enabled in the Include parameter. Because all points are at a fixed distance from the target or attractor object (the Pole Axis), the object can be visualized on a sphere of all possible orbits, with the target object at the center of the sphere. The Pole Axis defines the two points on the sphere that the orbit must pass through. For more information, see this parameter’s discussion in Orbit Around. Direction: A pop-up menu that lets you set whether objects move around in a clockwise or counterclockwise direction. HUD Controls The HUD has a pop-up menu that lets you limit the objects affected by this behavior, as well as controls for Strength, Falloff Type, Falloff Rate, Influence, Drag, axis assignment, and Direction. Related Behaviors • Attracted To • Attractor • Drift Attracted To • Drift Attractor • Orbit Around • Spring Chapter 9 Using Behaviors 473 Wind Apply the Wind behavior to an object to animate its position and move it in a specified direction. Unlike the Throw behavior, the velocity specified by the Wind behavior is a continuous force, and its parameters can be keyframed to achieve gradual changes in speed and direction. The Wind behavior is better than the Throw behavior when you want to vary the speed of the affected object. You can apply another behavior (such as Randomize or Ramp) or keyframe the Velocity parameter of the Wind behavior to vary the speed and direction of the object. You cannot make gradual changes in speed or direction with the Throw behavior. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Air Thickness: A slider and value slider that adjust how fast the object accelerates on the X, Y, or Z axis when the speed is changed. Lower values (simulating thinner air) have less effect when pushing the object, so it takes longer to get up to speed. Higher values (thicker air) have more effect and push the object up to speed more quickly. Velocity: A slider and value slider that adjust the speed on the X, Y, or Z axis where the simulated air is blowing the object. Higher values result in faster motion. 474 Chapter 9 Using Behaviors HUD Controls The HUD lets you specify the direction and speed of the Wind behavior by dragging an arrow in a circular region. The direction of the arrow defines the direction of movement in X and Y space, and the length of the arrow defines speed (velocity). A slider to the right lets you adjust the scale of the HUD control, increasing or decreasing the effect the control has over the object. Direction and speed Scale of the control Press the Shift key while dragging the arrow to constrain it to 45 degree angles. Press the Command key to change the arrow’s direction without affecting its length. When you click the 3D button, the HUD allows you to use the center arrow control to define the direction the object is “blown” by the wind in 3D. The Speed slider (on the left side of the HUD) lets you increase or decrease the velocity of the blown object. Speed of the wind Direction in X, Y, and Z Chapter 9 Using Behaviors 475 Note: The maximum speed you can define with the HUD is not the maximum speed possible. Higher values can be entered into the Velocity parameter in the Behaviors Inspector. Related Behaviors • Motion Path • Gravity • Random Motion • Throw Additional Behaviors Audio, Camera, Motion Tracking, Particles, Replicator, Shape, and Text behaviors are designed specifically to be applied to their respective objects: Audio files, cameras, particle emitters or cells, replicators or replicator cells, shapes, and text. • For more information about Audio behaviors, see Audio Behaviors. • For more information about Camera behaviors, see Camera Behaviors. • For more information about Particles behaviors, see Using Particles Behaviors. • For more information about Replicator behaviors, see Using the Sequence Replicator Behavior. • For more information about Shape behaviors, see Shape Behaviors. • For more information about Text behaviors, see Text Animation and Text Sequence Behaviors. • For more information about the Motion Tracking behaviors, including the Track parameter behavior, see Motion Tracking Behaviors. 476 Chapter 9 Using Behaviors Even a relatively simple Motion project can contain numerous parameters. Keeping track of them can be difficult. Often, you might want to modify a variety of parameters simultaneously. Finding and changing them individually would interrupt your workflow and slow you down. Rigging allows you to map multiple parameters to a single control. For example, you can create a single slider that changes the size, color, and tracking of a text object, while simultaneously adjusting the Throw Velocity of a background graphic. Similarly, you can create a checkbox that controls shadows and reflections for all objects in the project. This chapter explains how to create and modify rigs to organize and simplify your workflow. This chapter covers the following: • About Rigging and Widgets (p. 478) • How Rigging Works (p. 478) • Building a Rig (p. 479) • Managing Parameter Snapshots (p. 487) • Controlling Rigs from Parameter Animation Menus (p. 491) • Animating Widgets (p. 493) • Using Rigs in Motion (p. 493) • Publishing Rigs (p. 495) 477 Using Rigs 10 About Rigging and Widgets When you rig an object in Motion, you create a set of master controls called widgets. Widgets reside inside the rig and can affect nearly any parameter in any rigged object, including behaviors, filters, particle systems, replicators, lights, cameras and so on. Widgets can even control other widgets. There is no limit to the number of parameters each widget affects, and you can use multiple widgets in a rig to create a customized control panel where a few controls modify a wide range of parameters in the project. You can publish widgets for use in Final Cut Pro X. When the template is opened in Final Cut Pro, only the rig controls you specified in Motion are visible, allowing you to modify a complex of parameters with a small set of controls. Rigging is useful for a number of reasons. In addition to simplifying the workflow in template modification, rigging can be used to limit the kind and value of changes allowable in a template, ensuring that junior compositors and others in the production pipeline adhere to established specs and client needs. How Rigging Works Rigging works through the use of snapshots. A snapshot is a record of the current state of selected parameters in your project. Widgets allows you to switch between or even interpolate between stored snapshots. For example, you can create a snapshot where several text objects feature black type with a white shadow, and another snapshot that features white text with a black shadow. A checkbox widget in a rig toggles between the two states. A checkbox widget that toggles between two states is the simplest rigging control. Slightly more complex is the pop-up menu widget, which lets you select between multiple parameter states. The slider widget offers more advanced control over multiple parameter states. For example, a slider widget lets you make gradual changes from one state to another or even use keyframes to control how the slider widget changes. You can choose which parameters are modified in the snapshot in a number of ways (described in more detail in Managing Parameter Snapshots.) 478 Chapter 10 Using Rigs After you assign a parameter to a widget, changes you make to that parameter update the active snapshot in that widget. For example, if the parameter is assigned to a pop-up menu widget, the change is applied to the selected menu item. Each parameter in a project can be assigned to only one widget at a time. However, you can store many values for that parameter as different snapshots that can be accessed using a pop-up menu or slider widget. (As previously noted, checkbox widgets can only save two snapshots.) Because a parameter cannot be controlled simultaneously by two widgets, you cannot duplicate (or cut/copy and paste) a rig or widget object. Similarly, if you duplicate or copy and paste an object with rigged parameters, the new object’s parameters are not rigged. Further, if a parameter is assigned to a widget, that parameter cannot be modified while you are recording a different widget’s snapshot. For example, if you have a slider widget controlling a shape object’s color, and you begin recording a snapshot for a different widget, the shape’s color is not modifiable. Some parameter types cannot be rigged. Some parameters that use the mini-curve editor to affect an object over a range (such as the various “over stroke” parameters in the Shape inspector) cannot be added to a rig or modified while recording a snapshot. If you modify a parameter that cannot be rigged in edit mode, the change is applied globally—affecting all snapshots containing that object. Building a Rig A rig is a container for widgets. Adding a rig has no effect until you begin to add widgets and create snapshots for the widgets to control. A project can have an unlimited number of rigs, and each rig can have an unlimited number of widgets. To add a rig to a project Do one of the following: µ Choose Object > New Rig (or press Command-Control-R). Chapter 10 Using Rigs 479 µ In the Inspector, open a parameter’s Animation menu (the downward arrow on the right), choose Add To Rig > Create New Rig, then choose a widget type from the submenu. A new rig is added to the project. Rigs appear as objects in the Layers list. In the Timeline, rigs are represented as blank tracks because they cannot be edited in time. When you add a rig to a project using the first two methods described above (via the Object menu or its keyboard shortcut), no widgets are created. You must add them manually. (For more information, see Adding Widgets to a Rig.) However, when you add a rig using the Animation menu, the widget you choose in the menu is created immediately and appears in the Rig Inspector, the HUD, and the Layers list (underneath the Rig object). Note: Although rigs and their widgets appear as blank tracks in the Timeline, slider widgets can be keyframed, and those keyframes can be displayed in the Timeline. Adding Widgets to a Rig A rig has no effect until it contains a widget. Widgets are special controls used to drive parameters in the project. Widgets can be reordered and renamed. Renaming widgets can be important if you have multiple widgets of the same type. Otherwise you see a list of controls that have identical, generic names. HUD showing generic widget names HUD showing customized widget names When viewing the Widget Inspector, the controls for the widget are displayed. When viewing the Rig inspector, controls for all of widgets in the rig are displayed. When a single widget is selected, the HUD displays only the widget control, not the parameters used to modify the widget or the parameters driven by the widget. When a rig is selected, the HUD shows all widget controls assigned to that rig (as seen in the two-up figure above). 480 Chapter 10 Using Rigs To add a widget to a rig µ Select the rig in the Layers list, then click an Add Widget button in the Rig Inspector. There are three choices: Add Slider, Add Pop-up, and Add Checkbox. µ Drag a parameter row from any Inspector pane to a rig object in the Layers list. Dropping the parameter row immediately on the rig object creates a slider widget. Pausing briefly causes a drop menu to appear, allowing you to select the widget type you want to create. µ Add a widget from the Animation menu of a parameter. For more information, see Controlling Rigs from Parameter Animation Menus. Widgets are represented in four places in the Motion project window: • In the Layers list, under the parent rig. • In the Rig Inspector. If the rig has multiple widgets, they all appear here. • In the HUD. • In the Widget Inspector. To reorder widgets in a rig µ In the Layers list, drag the widgets into the order you want them to appear. To rename a widget µ Click the widget name in the Layers list and enter a new name. Note: If the widget has been published, the name change does not carry through to the published parameter. To synchronize names, rename the widget manually in the Publishing pane of the Project Inspector, or unpublish and republish the newly named widget. Moving Widgets Between Rigs If there are multiple rigs in a project, widgets can be moved easily between the different rigs. Chapter 10 Using Rigs 481 To move a widget to another rig 1 In the Layers list, drag the widget you want to move to the rig. 2 When the pointer changes to the Add pointer, release the mouse button. Widget Types Each widget type—pop-up menu, checkbox, and slider—has a distinct set of controls in the Rig Inspector and Widget Inspector. By default, each widget is named according to its type (“Checkbox,” for example). However, you can assign a custom name to identify the settings the widget will affect. Change the default name by double-clicking the widget name in the Layers list, then entering a name. Note: Widget names cannot be changed in the Inspector. Checkbox Checkbox widgets allow you to switch between two snapshots, that is, between two sets of parameter states. Typically, checkbox widgets are used to create an on/off type of effect, although you can store any parameter states in either snapshot, creating more of a toggle effect. The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in the Layers list (beside the checkbox widget) have no effect on the constituent parameters of the checkbox. Checkbox widgets contain the following controls in the Rig Inspector and Widget Inspector: 482 Chapter 10 Using Rigs Checkbox: Use this widget control to switch between two snapshots (parameter states). Edit Mode: Click the Start button to enable snapshot recording. For more information about recording snapshots, see Managing Parameter Snapshots. Note: When you record a snapshot (using the Edit Mode button or the methods described in Managing Parameter Snapshots), the affected parameters (those you modify in the Inspector or via onscreen controls in the Canvas) are added to the widget. When you finish recording a snapshot, new controls for the modified parameters appear in the Widget Inspector. These parameters are duplicates of the same parameters that occur in other Inspector panes. Parameters controlled by a rig display a special icon (a joystick) on the right side of the parameter row in the Inspector. Pop-up Menu Pop-up menu widgets are similar to checkbox widgets but allow you to save more than two parameter states (snapshots). Each item in a pop-up menu widget represents a snapshot. When you choose an item in the pop-up menu, the affected parameters in your project toggle to a different saved state. The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in the Layers list (beside the pop-up menu widget) have no effect on the constituent parameters of the pop-up menu. Pop-up menu widgets contain the following controls in the Rig Inspector and Widget Inspector: Pop-up: Use this widget control to switch between multiple saved snapshots. Rename: Use this button to enter a custom name for the item in the pop-up menu. Add/Delete: Click the Add button (+) to add an item to the pop-up menu; click the Delete button (–) to remove the item in the list. Each item represents a new snapshot. Edit Mode: Click the Start button to enable snapshot recording. For more information about recording snapshots, see Managing Parameter Snapshots. Chapter 10 Using Rigs 483 Note: When you record a snapshot (using the Edit Mode button or the methods described in Managing Parameter Snapshots), the affected parameters (those you modify in the Inspector or via onscreen controls in the Canvas) are added to the widget. When you finish recording a snapshot, new controls for the modified parameters appear in the Widget Inspector. These parameters are duplicates of the same parameters that occur in other Inspector panes. Parameters controlled by a rig display a special icon (a joystick) on the right side of the parameter row in the Inspector. Initial Value: Use this control (in the Options section) to set the initial value for the pop-up menu widget when it is published and used as a template in Final Cut Pro X. There are three options: • Last Saved: When the template is used in Final Cut Pro, the pop-up menu value defaults to the menu item assigned when the project was last saved. This option ensures a consistent pop-up menu state, while still permitting users to choose alternate states manually. This is the default setting. • Sequential: Each time the template is used (in a single project) in Final Cut Pro, the setting of this pop-up menu changes, rotating through the available menu items. The first time the template is used, this pop-up menu defaults to the first menu item. The next time the template is used, the pop-up menu is set to the second menu item, and so on. For example, in a wipe transition template with a pop-up menu widget assigned to control the shape of the wipe, the first time you add the template to the Final Cut Pro timeline, the wipe is a star; the next time you apply the template to the Final Cut Pro timeline, the wipe is a circle, and so on. • Random: Each time the template is used in Final Cut Pro, another menu item from this pop-up menu is assigned by default. For example, in a title template with a pop-up menu widget assigned to control the title’s font, each successive time the title is used in a project, a font is randomly selected from the font list. 484 Chapter 10 Using Rigs Slider Slider widgets let you select values interpolated between snapshots. When you drag the slider, the affected parameters change gradually, ramping between the values of adjacent snapshots. Each snapshot assigned to a slider is represented by a separate snapshot tag—a small shaded circle underneath the slider widget. Double-click the area below the slider to add snapshot tags. Parameters at this position inherit their values based on the interpolation point between the two snapshot tags. For example, in a slider mapped to the Color parameter, adding a tag midway between snapshot tags set to red and blue generates a snapshot set to purple. Snapshot tags can be dragged left and right and even reordered. To delete a snapshot tag, drag it away from the area under the slider. Clicking a snapshot tag sets the value of the slider to the tag's value and enables the tag’s snapshot for editing. Setting the slider to values between tags causes the rigged parameter values to be interpolated between the surrounding snapshot values. The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in the Layers list (beside the slider widget) have no effect on the constituent parameters of the slider. Slider widgets contain the following controls in the Rig Inspector and Widget Inspector: Slider: Use this widget control to move between snapshots. The snapshot tags beneath the slider indicate the saved snapshots. Chapter 10 Using Rigs 485 Snapshot Tag: Use the small shaded circles underneath the slider indicate saved snapshots. Double-click below the slider to add snapshot tags. Add as many snapshot tags as you want. Snapshot tags work similarly to tags that represent individual colors in a gradient. To learn how tags are used when creating gradients, see Gradient Editor. Edit Mode: Click the Start button to enable snapshot recording. For more information about recording snapshots, see Managing Parameter Snapshots. Note: When you record a snapshot (using the Edit Mode button or the methods described in Managing Parameter Snapshots), the affected parameters (those you modify in the Inspector or via onscreen controls in the Canvas) are added to the widget. When you finish recording a snapshot, new controls for the modified parameters appear in the Widget Inspector. These parameters are duplicates of the same parameters that occur in other Inspector panes. Parameters controlled by a rig display a special icon (a joystick) on the right side of the parameter row in the Inspector. Range Minimum: Use this parameter (in the Options section) to set the low end of the numeric range displayed next to the slider widget. For example, if you want the slider widget to range from 0 to 11, set Range Minimum to 0. Range Maximum: Use this parameter (in the Options section) to set the high end of the numeric range displayed next to the slider widget. For example, if you want the slider widget to range from 0 to 11, set Range Maximum to 11. If you want the slider widget to range from 0 to 100, set Range Maximum to 100. Note: Range Minimum and Range Maximum have no effect on the actual parameter values that the slider widget controls. Range Minimum and Range Maximum merely designate an arbitrary numeric range that is displayed next to the slider widget. Interpolation: A pop-up menu (in the Options section) controlling how values on the slider are interpolated. The interpolation applies to the segment of the slider between the current tag and the next one. You can set interpolation methods for each segment of the slider. By default, all segments are set to Linear. There are three options: • Constant holds the value of the first snapshot until the slider reaches the next snapshot, at which point the parameter changes. (This is similar to changing states using a pop-up menu widget.) • Linear creates a simple interpolation between states. • Ease creates a smooth interpolation, where the effect is weighted towards the nearer snapshot tag. 486 Chapter 10 Using Rigs Managing Parameter Snapshots The snapshots used to establish the values in the widgets are created in any of three ways: • Clicking the Edit Mode Start button in the Widget Inspector • Control-clicking parameters and adding them to a rig via the shortcut menu • Dragging and dropping a parameter onto an existing rig or widget in the Layers list The first method is described below. For more information about the other methods, see Controlling Rigs from Parameter Animation Menus and Building a Rig. Recording Snapshots on the Fly When you click the Edit Mode Start button in the Widget Inspector or Rig Inspector, Motion records parameter changes you make (including parameters you animate). A window appears containing a Stop Rig Edit Mode button. While Rig Edit Mode is active, you can modify parameters in your project. The parameter changes you make are stored in the current snapshot. (Other snapshots in the rig are unaffected.) After you stop Rig Edit Mode, any parameter you modified (in the Canvas, or in the HUD or Inspector) is added to the Widget Inspector, and its state is saved in the snapshot. Note: Only one snapshot can be modified per edit mode session. To edit more than one snapshot, end the editing session, select another snapshot (by clicking another snapshot tag for a slider, by choosing a new menu item for a pop-up menu, or by changing the state of a checkbox), then start a new edit mode session. Parameters affected by a rig display a joystick icon on the right side of the parameter row. Indicates parameter is controlled by a rig. Chapter 10 Using Rigs 487 Any parameter controlled by a rig is added to the Widget Inspector, below the Edit Mode: Start button and above the Options parameters. After you click the Stop Rig Edit Mode button, no additional parameters are added to the widget. To cancel the recording of the snapshot, click the close button on the Stop Rig Edit Mode window. When you stop recording, changes made to parameters are saved, but no new parameters are added to the widget. Note: Each parameter can be controlled by only one widget. After a parameter is assigned to a widget, you cannot assign that parameter to additional widgets. You can add parameters to a widget after a snapshot is created by clicking the Start Rig Edit Mode button again and making changes to new parameters, or by manually adding parameters to the widget. See Controlling Rigs from Parameter Animation Menus. Important: After a parameter is added to a widget, changes made to that parameter change the selected snapshot even if Rig Edit Mode is stopped, and even if the Widget Inspector is not visible. To record a snapshot on the fly 1 Add a rig to the project by pressing Command-Control-R. The rig appears in the Layers list. 2 In the Rig Inspector, click the Add Pop-up button (or whichever widget type you prefer). 488 Chapter 10 Using Rigs A pop-up widget appears in the Layers list (under the rig), and pop-up widget controls appear in the Rig Inspector. A Widget Inspector is added to the project (containing the same pop-up widget controls that appear in the Rig Inspector). To access the Widget Inspector, click the pop-up widget object in the Layers list. 3 In the Rig Inspector or the Widget inspector, choose an item from the pop-up menu. By default, a new pop-up menu widget contains three items: Snapshot 1, Snapshot 2, and Snapshot 3. You can rename them using the Rename button. 4 In the Rig inspector or the Widget inspector, click the Edit Mode: Start button. A window appears containing a Stop Rig Edit Mode button. The appearance of this window indicates that you are in Rig Edit Mode. Chapter 10 Using Rigs 489 5 Make changes to the objects in your project in the Canvas, the HUD, or the Inspector, creating the snapshot for the active menu item in the pop-up widget. 6 After you set the parameters to the wanted snapshot state, click the Stop Rig Edit Mode button. The snapshot is stored. Modified parameters are added to the Widget Inspector. Parameters added to Widget inspector 7 To set additional snapshots, repeat steps 3 through 6. How Snapshots Are Saved This section describes how you can set snapshots manually after parameters are linked to a widget. Snapshots are saved in the widget. Any parameter affected by a snapshot is persistently displayed in the widget (even if that parameter is unmodified by the current snapshot setting). Parameter controls in widgets are duplicates of the parameter controls they are linked to. For checkbox widgets, there are two snapshots: one for the selected state and one for the deselected state. Making changes to the linked parameters affects the snapshot for the current state of the checkbox. For pop-up menu widgets, there are as many snapshots as there are menu items. Add menu items by clicking the Add button (+) to the right of the pop-up menu in the Widget Inspector. Making changes to the parameters affects the selected pop-up menu item. 490 Chapter 10 Using Rigs For slider widgets, you must select a snapshot tag before enabling Edit Rig Mode. Selected snapshot tag After parameters are added to the widget, they can be modified only when a specific snapshot tag is selected. If a slider widget is set between two tags, you cannot modify parameters. Controlling Rigs from Parameter Animation Menus You can create or modify a rig while you are modifying specific parameters in your project. You can add a parameter to a rig, reveal a widget affecting a parameter, reveal the original parameter from its linked widget control, remove a parameter from a widget, or create a rig to affect a parameter. You can do all these tasks via the Animation menu for the relevant parameter in the Inspector. Chapter 10 Using Rigs 491 To add a parameter to a rig µ In the Inspector, open the Animation menu (the downward arrow on the right) for the parameter, choose Add to Rig > Rig, then choose a rig and a specific widget from the submenus. The parameter is added to the selected widget in the rig. Note: You can also create a rig via this submenu. To Remove a parameter from a widget µ In the Inspector, open the Animation menu (the downward arrow on the right) of the parameter to remove, then choose Remove from Widget [name of widget]. The parameter is removed from the widget. Note: Parameters can be removed from a widget in the parameter list in the Widget Inspector or in the Inspector containing the original parameter. To reveal the widget driving a parameter µ In the Inspector, open the Animation menu (the downward arrow on the right) for the parameter, then choose Reveal Widget [name of widget]. The Inspector displays the Widget pane. To reveal the original parameter used in a widget µ In the Widget inspector (not the Rig Inspector), open the Animation menu (the downward arrow on the right) for the parameter, then choose Reveal Target Parameter. The Inspector containing the original parameter is opened and the parameter name briefly blinks yellow. 492 Chapter 10 Using Rigs Note: This command can be especially helpful when a widget is driving multiple similarly-named parameters from different objects. This command allows you to identify the parent object. Animating Widgets You can animate slider widgets like any other parameter in Motion, through the use of keyframes. Keyframing lets you create powerful and complex effects where a combination of parameters driven by a single widget are animated simultaneously. You can also use one widget to control another. Treat the widget as you would another parameter when manipulating a snapshot for a widget. Note: You cannot create recursively controlled widgets. That is, you cannot use one widget to drive a second widget that’s already driving the first. For more information about using keyframes, see Keyframing in Motion. Using Rigs in Motion Although rigs are often used to build master controls for use in Final Cut Pro X projects, they are also useful in Motion, to simplify the control set of a complex project. Instead of making changes by manipulating individual parameters, you can modify the Motion project using just a few widgets in a rig. After a rig is built, it is immediately active. You can use the controls in the HUD, Rig Inspector, or Widget Inspector to make changes to the project. Use the HUD to view the widgets without the other rig-related controls visible in the Inspector. Using rigs this way can be helpful when sharing a complex project with other users or when creating a project that must modified each time it is used. For example, you can create a basic project for an animated lower-third title that incorporates two text objects, a background replicator, and a lens flare generator that moves across the text. Chapter 10 Using Rigs 493 Each time the project is used, the size and position of the background generator must change to match the length of the text. Also, the lens flare must only appear on top of the letters. Using a rig, you can create a small set of controls that modify the parameters such changes require. That way, rather than selecting individual objects, open their respective Inspectors, and make those changes, you can select the rig and have instant access to the parameters to change. Alternatively, you can publish the widgets and use the Project object (in the Layers list) as a custom control pane in the Inspector. For more information about publishing, see Publishing Rigs. You can even apply keyframes to a slider widget to create dynamic animated effects based on saved snapshots in the slider. Pop-up menu and checkbox widgets cannot be keyframed, nor can they accept behaviors. 494 Chapter 10 Using Rigs Multiple Rigs Motion allows you to create multiple rigs in a single project. Rigs can be organized to control sets of parameters, and they can be grouped with the objects they affect. For example you can place a rig inside the group that contains the parameters affected by the rig. That way you can navigate to the relevant rig to control the specific, related elements. Multiple rigs Publishing Rigs One of the most common reasons to employ rigs is to create a simplified set of controls for template projects for use in Final Cut Pro X. This is achieved by publishing completed widgets to the Publishing pane of the Project Inspector in Motion. To publish a rig, you must publish its widgets individually. Widgets can be published like any other parameter in Motion. Chapter 10 Using Rigs 495 To publish a widget µ In the Rig or Widget inspector, Control-click the parameter or open the Animation menu (the downward arrow on the right) for the widget you want to publish, then choose Publish. To view published parameters in Motion 1 In the Layers list, click the Project object. 2 In the Project Inspector, open the Publishing pane. The Publishing pane displays all published parameters, including widgets. Published parameters also appear in the Inspector in Final Cut Pro X. For more information about publishing, see Publishing Parameters in Templates. 496 Chapter 10 Using Rigs Final Cut Pro X ships with numerous effects, titles, transitions, and generators, nearly all of which were created in Motion. If your Final Cut Pro X project calls for additional effects and you are an advanced Motion user, you can build them using the powerful features in Motion. If you are a content creator, you can distribute custom effects to artists and editors at your facility or to clients. Special-effect projects created in Motion 5 for use in Final Cut Pro X are called templates. When you save a template in Motion, it becomes available in one of the Final Cut Pro media browsers. For example, a transition template saved in Motion appears in the Transitions Browser in Final Cut Pro, ready to be applied to an editing project. Additionally, most existing effects, transitions, titles, and generators in Final Cut Pro can be opened and modified in Motion. This chapter describes how to build and modify templates in Motion 5 for use in Final Cut Pro X. For additional suggestions about streamlining the Motion-to-Final Cut Pro workflow, see Tips for Creating Templates. This chapter covers the following: • About Templates (p. 498) • Creating an Effect for Final Cut Pro X (p. 505) • Modifying a Final Cut Pro X Effect in Motion (p. 507) • Example: Modifying the Bokeh Random Effect (p. 508) • Advanced Example: Creating an SLR Effect Template Using Rigging (p. 512) • Creating a Title for Final Cut Pro X (p. 525) • Modifying a Final Cut Pro X Title in Motion (p. 528) • Creating a Transition for Final Cut Pro X (p. 529) • Modifying a Final Cut Pro X Transition in Motion (p. 532) • Example: Creating a Prism Blur Transition (p. 533) • Creating a Generator for Final Cut Pro X (p. 536) • Modifying a Final Cut Pro X Generator in Motion (p. 538) 497 Creating Templates for Final Cut Pro X 11 • Publishing a Standard Motion Project as a Final Cut Pro X Template (p. 539) • Using Media in Template Placeholders (p. 539) • Publishing Parameters in Templates (p. 541) • Animation and Timing in Templates (p. 549) • Working with Markers in Templates (p. 552) • Template Resolution (p. 557) • Using Masks in Templates (p. 557) • Template Files and Media Save Location (p. 558) • Adding Multiple Display Aspect Ratios to a Template (p. 560) • Tips for Creating Templates (p. 562) About Templates A Final Cut template is a special type of Motion project: After it is saved in Motion, the template appears in one of the Final Cut Pro X media browsers, where it can be applied to an editing project like any other effect, title, generator, or transition that ships with Final Cut Pro. There are four types of Final Cut templates: • Final Cut Effect: Use this template to create a custom stylized effect that can be applied to edits and clips in the Final Cut Pro Timeline. An effect can subtly or dramatically shape the character of your editing project. A sepia-tone color correction might make an audience think of days gone by, while a radiant glow might suggest an otherworldly setting. After you save the template in Motion, the effect appears in the Effects Browser in Final Cut Pro. • Final Cut Transition: Use this template to create a custom transition that can be applied to clips in the Final Cut Pro Timeline. A transition artfully connects the edit point between two clips. One scene might dissolve into the next in a cloud of smoke, or one setting might displace another on a turning page. After you save the template in Motion, the transition appears in the Transitions Browser in Final Cut Pro. • Final Cut Title: Use this template to create a custom text animation that can be added to a Final Cut Pro sequence. Text might flare in or out in a fiery glow, or fall into place from offscreen. After you the save the template in Motion, the title effect appears in the Titles Browser in Final Cut Pro. • Final Cut Generator: Use this template to create generalized graphical content that can be added to a Final Cut Pro project. A Final Cut Generator is nearly identical to any other Motion project—it can include text, shapes, replicators, camera moves and lighting, generators, and so on. It can be static or animated. After you the save the template in Motion, the generator appears in the Generators Browser in Final Cut Pro. 498 Chapter 11 Creating Templates for Final Cut Pro X Important: Because you cannot change template types after you open a project, determine what kind of template you want to build before creating a Motion project. Note: A standard Motion project can also be published as a generator in Final Cut Pro X. For more information, see Publishing a Standard Motion Project as a Final Cut Pro X Template. Like all Motion projects, Final Cut Pro templates can have 2D and 3D groups, as well as animation created with behaviors or keyframes. For more information on working in 3D, see 3D Compositing. For more information on animation in templates, see Animation Guidelines. Publishing Parameter Controls from Motion to Final Cut Pro X When you create a template in Motion, you can limit or lock specific parameters to prevent Final Cut Pro X users from modifying crucial elements in the resulting effect. For example, you might want to prohibit a staff editor from changing the intensity of a glow effect to be applied to a clip in Final Cut Pro. At the same time, you might want to allow her to modify the color of the glow. You set these end-user constraints by choosing which adjustable parameter controls to publish. Published parameters appear in the Final Cut Pro Inspector, where they can be edited and animated. When creating templates in Motion, you have the following publishing options: • You can publish no parameters, making the effect a nonmodifiable preset with no adjustable controls in the Final Cut Pro Inspector. • You can publish specific parameters, giving users limited control over modifications made in the Final Cut Pro Inspector. • You can publish rig widgets, which map multiple parameters to a few pop-up menus, sliders, or checkboxes. Rigs simplify parameters by combining them into a single control in the Final Cut Pro Inspector. Rigs can also be used to limit the adjustable range of a parameter in Final Cut Pro. For more information on using and publishing rig controls, see Using Rigs. For a step-through example of creating a Final Cut Effect that includes a rig, see Advanced Example: Creating an SLR Effect Template Using Rigging. For more information on publishing template parameters, see Publishing Parameters in Templates. Note: Some parameters in Motion cannot be published to Final Cut Pro. Chapter 11 Creating Templates for Final Cut Pro X 499 How Templates Work Creating a template begins in the Motion Project Browser, where you select one of four template types—Final Cut Effect, Final Cut Transition, Final Cut Title, or Final Cut Generator—then click open. The new Motion project that opens contains graphical placeholders—target layers where you apply Motion behaviors, filters, and other effects that combine to create an effect for Final Cut Pro X. (Placeholders, which appear in the Canvas as downward arrow graphics, are similar to drop zones in standard Motion projects.) You can drag an image or video clip into a placeholder layer to preview the effect you’re building, but those images do not appear in the Final Cut Pro project. This is because effect, transition, and title templates are intended to modify footage in the Final Cut Pro Timeline, not images and footage in Motion. Even though images in the placeholder layers do not appear in the resulting Final Cut Pro effect, any new layers you add to a template (shapes, paint strokes, images, and so on) and their applied effects (lighting, camera moves, filters, for example) are visible in the Final Cut Pro project. These layers, which appear composited over the clip the effect is applied to, cannot be separated from the effect. For this reason, it is ill-advised to add image layers to effect, transition, and title templates. However, in generator templates there are no image restrictions. Because generator templates deliver image content (not just special effects) to Final Cut Pro, images, clips, and applied effects are propagated to the Final Cut Pro project and appear in the Viewer when applied. Note: Although you can drag a video clip into a placeholder layer for preview purposes, the clip’s duration can interfere with timing built into the template. For that reason, it’s better to use still images in templates when you need to preview an effect. Additionally, complex Motion layer effects such as particle emitters and replicators are not recommended for use in any template types, because they might negatively affect Final Cut Pro performance. When you save a template in Motion, the effect is exported to the relevant Final Cut Pro media browser (the Effects Browser, Titles Browser, Transitions Browser, or Generators Browser). When the template is added to the Timeline or applied to a clip in the Timeline, an on/off activation checkbox and published parameter controls appear in the Final Cut Pro Inspector. The following sections describe each template type. 500 Chapter 11 Creating Templates for Final Cut Pro X Final Cut Effect Template The Final Cut Effect template contains one placeholder layer: Effect Source. Drag filters and behaviors to the placeholder layer (the downward arrow graphic in the Canvas) to create custom effects. Drag an image to the placeholder layer to preview the effect. When you save the template in Motion, the template is automatically exported to the Final Cut Pro Effects Browser. In Final Cut Pro, apply the effect to a clip in the Timeline. (Images or clips used in the Motion placeholder layer appear in the Effects Browser icon, but are not applied to the clip in the Final Cut Pro Timeline.) The duration of the effect is determined by the length of the Final Cut Pro clip it is applied to. You can use template markers to control the timing of the sections of an effect template. For more information, see Working with Markers in Templates. You cannot delete the Effect Source placeholder from an effect template. Nor can you create additional Effect Source placeholders. Although you can add more image layers to an effect template (and have them appear in the applied effect in Final Cut Pro), it’s not recommended. This template was designed for a single purpose: to apply one custom visual effect to a Final Cut Pro clip. Chapter 11 Creating Templates for Final Cut Pro X 501 Final Cut Transition Template The Final Cut Transition template contains two placeholder layers: Transition A and Transition B. Filters and behaviors added to Transition A affect the first clip in a Final Cut Pro transition. Filters and behaviors added to Transition B affect the second clip in the transition. Drag an image to each placeholder to preview the transition. When you save the template in Motion, the new transition is automatically exported to the Final Cut Pro Transitions Browser. In Final Cut Pro, apply the transition to an edit point in the Timeline. (Images or clips in the Motion placeholder layer appear in the Transitions Browser icon, but are not applied to the clip in the Final Cut Pro Timeline.) The duration of the transition is determined by the project settings in the Editing pane of Final Cut Pro Preferences. When creating the transition in Motion, you can set the template to override the default transition duration in Final Cut Pro. The transition also has adjustable In and Out points in the Final Cut Pro project. You can add drop zones to a transition template to add a background element in the transition. For more information, see Creating a Transition Background. You cannot delete the Transition A and Transition B placeholders from a transition template. Nor can you create additional Transition placeholders. Although you can add more image layers to a transition template (and have them appear in the applied effect in Final Cut Pro), it’s not recommended. This template was designed for a single purpose: to apply one custom transition to the edit point between two Final Cut Pro clips. 502 Chapter 11 Creating Templates for Final Cut Pro X Final Cut Title Template The Final Cut Title template contains a text layer (Type Text Here) and a placeholder layer (Title Background). Modify the text, as necessary. Animate the text using behaviors or keyframes, and add text layers and text effects, if needed. Filters and behaviors applied to the Title Background placeholder modify the clip that the title effect is applied to in Final Cut Pro. Drag an image to the Title Background layer to preview the effect. (The preview image does not appear in Final Cut Pro.) Or, if you don’t want to modify the clip in Final Cut Pro, delete the Title Background placeholder. When you save the template in Motion, the new title effect is automatically exported to the Final Cut Pro Titles Browser. There are two ways to apply a title effect in Final Cut Pro: • Drag the title effect above a clip (or clips) in the Timeline to the frame. When you release the mouse button, the title is anchored to the clip, and the clip is used as the background. The title can span multiple clips in the Timeline. The clips populate the title background placeholder, so underlying clips assume any transforms, filters, and so on that were applied to the placeholder in Motion. • Add the title effect to the main Timeline as a clip. If the title effect contains a Title Background placeholder, the placeholder is ignored, and a background clip cannot be specified. If the title effect is added as a clip to the main Timeline in Final Cut Pro X, you can use a standard drop zone to specify a background source clip. For more information, see Creating a Title Background. When added to the Final Cut Pro Timeline, the duration of the title effect is the same as the template created in Motion. The title effect has adjustable In and Out points in the Final Cut Pro project. Chapter 11 Creating Templates for Final Cut Pro X 503 To create a template that allows you to use the background in the ways discussed above, you can publish a rigged checkbox that turns the drop zone on or off in the main Timeline. Alternatively, you can create two versions of the title template, one that uses a standard drop zone as a background and one that uses the default Title Background placeholder. For more information on rigging, see Using Rigs. For more information on publishing, see Publishing Parameters in Templates. Final Cut Generator Template The Final Cut Generator template contains no placeholder layers. In fact, the generator template is nearly identical to any other Motion project. Add image layers and effects to create a composition just as you would in a standard Motion project. When you save the template in Motion, the generator effect is automatically exported to the Final Cut Pro Generators Browser. There are two ways to apply a generator effect in Final Cut Pro: • Drag the generator above a clip (or clips) in the Timeline to the frame, compositing the generator over the clip. The generator can span multiple clips in the Timeline. • Add the generator to the main Timeline as a clip. When added to the Final Cut Pro Timeline, the duration of the generator is the same as the template created Motion. The generator has adjustable In and Out points in the Final Cut Pro project. Standard drop zones can be added to Final Cut Generator template. For more information about drop zones, see Drop Zones. Note: A standard Motion project can also be published as a generator in Final Cut Pro. For more information, see Publishing a Standard Motion Project as a Final Cut Pro X Template. 504 Chapter 11 Creating Templates for Final Cut Pro X Placeholders Versus Drop Zones Placeholders and drop zones can be scaled or transformed in templates to create certain looks and movements. For example, you can create a picture-in-picture effect by adding a drop zone to a template, scaling the drop zone down, then positioning it in a corner of the Canvas. The difference between the placeholder and the drop zone lies in how each is used in a Final Cut Pro project: When you apply a template in a Final Cut Pro project, the target clip populates the placeholder, while drop zones remain empty until you assign source media (in Final Cut Pro). After you assign source media to a drop zone, you can use onscreen controls to pan or scale the media within the drop zone. For more information on standard drop zones, see Drop Zones. Creating an Effect for Final Cut Pro X Use the Final Cut Effect template to create a custom effect for use in Final Cut Pro X. For detailed information on the Project Browser, see The Project Browser. For information on applying and editing effects in Final Cut Pro X, see Final Cut Pro X Help. For an example of creating a Final Cut Effect that includes a rig, see Advanced Example: Creating an SLR Effect Template Using Rigging. To create a new effect template 1 In Motion, choose File > New From Project Browser (or press Command-Option-N). The Project Browser appears. 2 In the Project Browser, click Final Cut Effect, then choose a project size from the Preset pop-up menu. Important: Be sure to create the template at the highest resolution you will use in your Final Cut Pro project. 3 Click Open (or press Return). If the correct preset is already chosen, you can double-click Final Cut Effect in the Project Browser. Chapter 11 Creating Templates for Final Cut Pro X 505 A new, untitled Motion project opens, with the Effect Source placeholder layer selected. 4 To add a reference image to the Effects Source placeholder to preview your work, do one of the following: • From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved arrow, release the mouse button. • From the File Browser or Library, drag an image to the Effect Source layer in the Layers list. When the pointer becomes a curved arrow, release the mouse button. Be sure to drag the image from the File Browser or Library to the placeholder. If you accidentally place the image into a new layer, you can’t move it to the placeholder layer. The image is added to the Effect Source layer, replacing the arrow graphic in the Canvas, and is resized if it is not the same size as the project. The image is temporary media used to preview the result of the effect you are building. It is not used in the Final Cut Pro X effect. 5 Add filters or behaviors to the Effect Source layer to create a custom effect. The filter and behavior parameters can be modified and animated. For more information on working with filters, see Using Filters. For more information on behaviors, see Using Behaviors. 6 To allow Final Cut Pro users to modify specific parameters, choose Publish from the Animation pop-up menu of each parameter you want to make accessible. Publishing a parameter makes its user interface control (the slider, checkbox, or dial) available in the Final Cut Pro Inspector when the custom effect is applied to a clip. Published parameters can be adjusted and keyframed in Final Cut Pro. For more information, see Publishing Parameters in Templates. Tip: In addition to publishing specific parameter controls, you can publish the blue activation checkboxes that appear next to filter and behavior names in Motion Inspectors. When you publish an activation checkbox (via its Animation pop-up menu), a corresponding checkbox appears in the Final Cut Pro Inspector, allowing users to turn the influence of that filter or behavior on or off. For more information, see Publishing Parameters in Templates. 7 Optional: When you're satisfied with the custom effect you’ve built, you can remove the preview image from the template by selecting the Effect Source layer, then clicking the Clear button in the Image Inspector. The temporary image is removed from the project. 8 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Effects Browser as “New Template.” b Choose a category from the Category pop-up menu. 506 Chapter 11 Creating Templates for Final Cut Pro X You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Effects Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie. 9 Click Publish. The template and remaining media are saved and exported to the Final Cut Pro Effects Browser. For information about applying and editing effects in Final Cut Pro, see Final Cut Pro Help. Modifying a Final Cut Pro X Effect in Motion The presets in the Final Cut Pro X Effects Browser were created in Motion. You can modify these presets in Motion, then save them as effects in Final Cut Pro. For a step-through example of modifying a preset Final Cut Effect, see Example: Modifying the Bokeh Random Effect. To modify a Final Cut Pro X effect in Motion 1 In Final Cut Pro X, click the Effects Browser button in the toolbar. The Effects Browser appears. 2 Locate the effect to edit. To preview the effect, move the pointer over the effect’s thumbnail. 3 Control-click the effect and do one of the following: • If the effect is a Final Cut Pro preset, choose “Open a copy in Motion” from the shortcut menu. A copy of the project opens in Motion, and the duplicated file appears in the Final Cut Pro Effects Browser. • If the effect is a template created in Motion, choose “Open in Motion” from the shortcut menu. The original project opens in Motion. Chapter 11 Creating Templates for Final Cut Pro X 507 If the preview image used when creating the effect in Motion was saved with the project, that media appears in the template. 4 Modify the project in Motion, then do one of the following: • To save a copy of the Final Cut Pro preset with the default name, choose File > Save. • To save a copy of the Final Cut Pro preset with a new name, choose File > Save As, complete the save dialog information, then click Publish. • To save the updated Motion-created template and overwrite the original version, choose File > Save. • To save the updated Motion-created template as a copy, choose File > Save As, complete the save dialog information, then click Publish. Note: When a preset Final Cut Pro effect is applied to the Final Cut Pro Timeline and then modified in Motion, the saved changes do not affect instances of the template in the Final Cut Pro Timeline. However, after the modified version of the preset is applied to the Final Cut Pro Timeline, any subsequent changes made in Motion to the template affect instances of the effect in the Final Cut Pro Timeline. The template is saved and appears in the Effects Browser in Final Cut Pro. Example: Modifying the Bokeh Random Effect In Final Cut Pro X, the Bokeh Random effect adds moving, blurred particles to a clip. The shape, blend mode, speed, and other particle parameters of the effect can be edited in Final Cut Pro X. Most Final Cut Pro X effects (as well as transitions, titles, and generators) can be opened and modified in Motion to limit or add parameter controls. Note: Bokeh comes from the Japanese term “boke,” meaning blur or haze. Bokeh is a term used in photography to describe the aesthetic quality of a blurred image. To inspect the Bokeh Random effect in Final Cut Pro X 1 In Final Cut Pro X, select a clip in the Timeline, then click the Effects Browser button in the toolbar. 2 In the Effects Browser, select the Light category, then move the pointer back and forth over the Bokeh Random thumbnail. A preview of the effect plays in the Viewer. 3 To apply the effect to the selected clip, do one of the following: • Double-click the Bokeh Random effect. 508 Chapter 11 Creating Templates for Final Cut Pro X • Drag the effect to the clip in the Timeline. When the clip is highlighted and the add pointer (+) appears, release the mouse. The Bokeh Random effect is applied to the clip. 4 Click the Inspector button in the toolbar. The first control in the Inspector is the Type parameter, which sets the shape of particles in the effect. 5 To change the particle shapes to hexagons, choose Hexagons from the Type pop-up menu. 6 Adjust some of the other controls, such as Size, Number, and Opacity to see how they change the effect. 7 Click the Reset button (the curved arrow at the end of the activation checkbox row) to set the parameters back to their default values. In the next task, a copy of the Bokeh Random effect is opened and edited in Motion so that the option to change the shape of the particles is removed from the effect, and the option to change the color of the particles is added to the effect. To add a parameter to the Bokeh Random effect’s Final Cut Pro X Inspector 1 In the Final Cut Pro X Effects Browser, Control-click the Bokeh Random effect, then choose “Open a copy in Motion” from the shortcut menu. A copy of the template opens in Motion, and the duplicated file appears in the Final Cut Pro Effects Browser. 2 If necessary, choose Fit in Window from the Zoom Level pop-up menu above the Motion Canvas. Optional: To better see the effect you are modifying, drag a still image from the File Browser to the Canvas, releasing the mouse button when the pointer changes to a curved arrow and the placeholder is highlighted with a yellow border in the Canvas. Note: This image is not saved with the Bokeh Random copy to the Final Cut Pro Effects Browser. 3 In the Layers list, click the Project object, then click Publishing in the Project Inspector. The controls that are published in the preset Bokeh Random effect are listed: Type, Blend Mode, Size, Number, Pattern, Speed, Blur Amount, and Opacity. Several of the published parameters are rig widgets. For detailed information on rigs and widgets, see Using Rigs. When a parameter is published, it becomes available in the Final Cut Pro Inspector. For detailed information on publishing, see Publishing Parameters in Templates. Chapter 11 Creating Templates for Final Cut Pro X 509 4 In the Layers list, open the Bokeh group, then open the Hexagons and Circles groups. The effect is comprised of rigged particle parameters, behaviors, and a Gaussian Blur filter. For an example of rigging, see Advanced Example: Creating an SLR Effect Template Using Rigging. 5 In the Circles group, select the “Bokeh 4” particle emitter, then choose Colorize from the Color Mode pop-up menu in the Emitter Inspector. 6 Select a new color from the Color parameter. In the Canvas, the circular particles change to the new color. 7 Do one of the following: • Click the Color parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Publish. 510 Chapter 11 Creating Templates for Final Cut Pro X • Control-click the Color parameter’s name, then choose Publish from the shortcut menu. 8 Click the Project object to view the modified published parameter list. The Color parameter now appears in the list. When the modified template is applied to a clip in the Final Cut Pro Timeline, the Color parameter will be available in the Final Cut Pro Inspector. Published Color parameter In the next task, remove the Type parameter from controls that will appear in the Final Cut Pro Inspector. To remove a parameter from the Bokeh Random effect’s Final Cut Pro X Inspector 1 In the Publishing pane of the Project Inspector, do one of the following: • Click the Type parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Unpublish. Chapter 11 Creating Templates for Final Cut Pro X 511 • Control-click the Type parameter’s name, then choose Unpublish from the shortcut menu. The Type control is removed from the list and will not be available in Final Cut Pro. 2 Choose File > Save (or press Command-S). If you imported a still placeholder image, a dialog appears asking if you want to copy that image to the saved Motion project. To save the image with the Motion project, click Copy. To save the project without the image, Click Don’t Copy. Neither option has any affect when the template is applied in Final Cut Pro. Note: To save the effect with a different name or to a different category in the Effects Browser, choose File > Save As. The initially created file (Bokeh Random Copy) remains in the Final Cut Pro Effects Browser and Motion Project Browser, but can be deleted from the folders in /Users/username/Movies/Motion Templates. The effect is now ready for use in Final Cut Pro. Unlike the original preset, Bokeh Random Copy includes a control to change the color of the particles, and no longer includes a control to change the shape of the particles. Advanced Example: Creating an SLR Effect Template Using Rigging Advanced Motion users can create sophisticated effects templates for Final Cut Pro X. The following example describes how to create one such effect, a simulation of an SLR (single-lens reflex) camera viewfinder changing focus. An SLR camera uses a moving prism-and-mirror system to show the photographer the image that will be captured on film. This workflow in this section requires a thorough knowledge of several advanced Motion techniques, including clones, masks, and rigging. For more information on the these techniques, see Making Clone Layers, Using Shapes, Masks, and Paint Strokes, and Using Rigs. The workflow in this example is divided into the following tasks: • Setting up the template project in Motion • Creating the "viewfinder" graphics • Adding a preview image • Adding masks • Creating and customizing a new rig • Publishing the rig widget and effect template to Final Cut Pro To set up the SLR effect project in Motion 1 Choose File > New (or press Command-N). 2 In the Project Browser, select Final Cut Effect, choose the project preset required for your Final Cut Pro X project, then click Open. Note: This example uses the Broadcast HD 720 preset. 512 Chapter 11 Creating Templates for Final Cut Pro X The project opens and contains a single group with one Effect Source placeholder layer. The placeholder (the arrow image) represents the clip or image to which the effect will be applied in the Final Cut Pro Timeline. Because this template uses multiple instances of the same image or clip to create an SLR split-prism effect, clones are made of the placeholder. 3 Clone the placeholder: a Select the Effect Source layer, then choose Object > Make Clone Layer (or press K). b Rename the Clone Layer “Background.” c Select the Effect Source layer again, then choose Object > Make Clone Layer (or press K). d Rename the second Clone Layer “Top Prism.” e Rename the Effect Source layer “Bottom Prism.” 4 Add new groups to the project: a In the Layers list, select the Group, then click the Add button (+) in the lower-left corner of the Layers list four times to create four additional groups. b Name the bottommost Group (the one containing the clones) “Background Group.” c Name Group 1 “Bottom Prism Group.” d Name Group 2 “Top Prism Group.” e Name Group 3 “Split Prism Group.” f Name Group 4 “Focus Screen Group.” Your project should look like the following illustration: Chapter 11 Creating Templates for Final Cut Pro X 513 5 Organize the groups and placeholder clones: a Drag the Bottom Prism clone layer to the Bottom Prism Group. When the highlight appears around the Bottom Prism Group, release the mouse button. b Drag the Top Prism clone layer to the Top Prism Group. c Shift-select the Bottom Prism Group and the Top Prism Group, then drag them to the Split Prism Group. The Bottom Prism Group and the Top Prism Group are now members of the Split Prism Group. d Drag the Split Prism Group to the Focus Screen Group. Your project should look like the following illustration: In the next task, add shapes to simulate the focus rings found in an SLR viewfinder. To add the viewfinder focus graphics 1 With the Focus Screen group selected, choose the Circle tool from the Shape pop-up menu in the Toolbar. 2 Position the pointer in the center of the Canvas and , holding down the Shift and Option keys, draw a circle in the Canvas. The circle should be large enough to cover the arrow graphic. Tip: Choose Grid from the View pop-up menu above the Canvas to display a grid to assist in the positioning of graphics in the Canvas. 3 Name the circle layer “Outer Ring.” 4 With the Outer Ring layer selected, do the following in the Shape Inspector: a Turn off Fill by deselecting the blue activation box. b Turn on Outline by selecting the blue activation box. 514 Chapter 11 Creating Templates for Final Cut Pro X c Set Brush Color to black. d Set Width to 1. e Set Brush Opacity to 80 percent. 5 With the Outer Ring layer selected, press Command-D, then name the duplicated shape “Texture Ring.” 6 In the Shape Inspector, do the following: a Turn off Outline by deselecting the blue activation box. b Turn on Fill by selecting the blue activation box. c Set Fill Color to black. d Set Fill Opacity to 35 percent. 7 In the Properties Inspector, set Scale to 42 percent. 8 In the toolbar, choose Stylize > Halftone from the Add Filter pop-up menu. A screen pattern is applied to the Texture Ring. 9 In the Filter Inspector, set Contrast to 0.2. In the next task, add an image (to assist in seeing the effect you are building) and apply a blur filter. In a later task, you will rig the blur filter to create the changing focus effect. Add an image and apply a blur filter to the background 1 In the File Browser, drag a still image to the Canvas, releasing the mouse button when the placeholder in the Canvas is highlighted yellow. Chapter 11 Creating Templates for Final Cut Pro X 515 This image will allow you to see the effect you are building. When the image is dragged to the Canvas, it is applied to the clone and background layers. This example uses an image of a herd of elephants. They’re neat. 2 In the Layers list, select the Background layer. 3 In the toolbar, choose Blur > Gaussian Blur from the Add Filter pop-up menu. A Gaussian Blur filter is added to the elephant image. 4 In the Filters Inspector, set Amount to 0. The blur amount will be modified in a subsequent step (when you build the rig). In the next task, you will add the masks that create the center of the viewfinder and the split prisms. To add the focus screen masks 1 Add a mask to the Texture Ring layer: a In the Layers list, select the Texture Ring layer. b Choose the Circle Mask tool from the Mask pop-up menu in the toolbar, position the pointer in the center of the Texture Ring shape and, holding down the Shift and Option keys, draw a mask in the Canvas. 516 Chapter 11 Creating Templates for Final Cut Pro X Use the following image as a reference: The Texture Ring circle is masked. However, to simulate an SLR viewfinder focus ring, you need to invert the mask. c In the Mask Inspector, select Invert Mask. Tip: To align objects in the Canvas, use the Dynamic Guides and snapping (press N). You can also select objects, then choose an option from the Objects > Alignment menu. 2 Add a mask to the Top Prism Group: a In the Layers list, select the Top Prism Group. b Choose the Bezier Mask tool from the Mask pop-up menu in the toolbar, then draw a four-sided shape in the Canvas so that the bottom side crosses the center of the circle graphics at an angle. Chapter 11 Creating Templates for Final Cut Pro X 517 Use the following image as a reference: Tip: To quickly zoom out of the Canvas, press Command–Minus Sign. Press Command–Plus Sign to zoom into the Canvas. Alternatively, you can hold down the Space bar and Command key (in that order), then drag diagonally in the Canvas. The zoom occurs around the spot clicked in the Canvas. c With the mask selected, choose View > Show Rulers (or press Command-Shift-R). 518 Chapter 11 Creating Templates for Final Cut Pro X d Drag two guides from the horizontal ruler and align them with the lower-left and lower-right corners of the mask. 3 Add a mask to the Bottom Prism Group: a In the Layers list, select the Bezier Mask created in step 2. b Choose Edit > Duplicate (or press Command-D). c Drag the Bezier Mask Copy to the Bottom Prism Group. d Choose the Select/Transform tool from the pop-up menu at the far-left side of the toolbar. Chapter 11 Creating Templates for Final Cut Pro X 519 e Holding down the Shift key, drag the mask’s rotation handle 180 degrees. f Drag the mask downward until the upper-left and upper-right corners of the mask align with the guides. Tip: After you begin dragging, hold down the Shift key to confine movement to the Y axis. To fine-tune the Y position of the mask, press Command–Up Arrow or Command–Down Arrow, or adjust the Y Position parameter in the mask’s Properties Inspector. To see the effects of the masks, turn the Background Group off, then turn the Top Prism Group or Bottom Prism Group off. 4 Add a mask to the Split Prism Group: a In the Layers list, select the Circle Mask that you applied to the Texture Ring layer, then press Command-D. b Drag the Circle Mask copy to the Split Prism Group, then turn off the Background Group to see the effect of the mask. When the mask is applied to the Split Prism Group, it retains its inverted state, but changes in scale. This is because the mask was applied to an object that has been scaled (the Texture Ring). When applied to an object that is not scaled, the mask is applied at its nonscaled size. 520 Chapter 11 Creating Templates for Final Cut Pro X c With the Circle Mask copy selected, deselect the Invert Mask checkbox in the Mask Inspector. d With the Circle Mask copy selected, open the Properties Inspector and set the Scale parameter to match the scale of the Texture Ring: 42 percent. In the next task, create the rig that will control the positions of the Top Prism layer and the Bottom Prism layer, simulating focusing the SLR camera. To create the SLR effect rig 1 In the Layers list, select the Top Prism clone layer (not the Top Prism Group) and in the Properties Inspector, do the following: a Click the Position parameter disclosure triangle to show the X, Y, and Z subparameters. Chapter 11 Creating Templates for Final Cut Pro X 521 b Control-click the X Position parameter name, then choose Add to Rig > Create New Rig > Add To New Slider from the shortcut menu. The Widget Inspector is displayed, and contains a single parameter: “Top Prism.X.” A rig icon (a joystick) appears next to the parameter in the Inspector (as well as in the Properties Inspector for the Top Prism clone layer). Rig and Slider objects also appear near the top of the Layers list. 2 Select the Bottom Prism clone layer, and in the Properties Inspector, do the following: a Click the Position parameter disclosure triangle to show the X, Y, and Z subparameters. b Control-click the X Position parameter name, then choose Add to Rig > Rig > Add To Slider from the shortcut menu. 3 In the Layers list, select the Gaussian Blur filter, then do the following: a Open the Filters Inspector. b Control-click the Amount parameter name, then choose Add to Rig > Rig > Add To Slider from the shortcut menu. 4 In the Layers list, select the Rig. 522 Chapter 11 Creating Templates for Final Cut Pro X The rigged parameters appear in the Rig Inspector, with the most recently added parameter at the top of the list. Rigged parameters In the next task, create three different snapshots simulating the viewfinder focus effect. In the first snapshot, the top prism is shifted to the left and the background image appears out of focus. In the second snapshot, the top and bottom prisms are aligned and the background image appears in focus. In the third snapshot, the bottom prism shifts to the right and the background image appears out of focus. For detailed information on using rigs, widgets, and snapshots, see Using Rigs. To create the SLR rig’s snapshots 1 In the Layers list, select the Background Group checkbox to see the effect of the snapshots as you create them. 2 In the Rig Inspector, double-click just below the middle of the slider control to add a new snapshot, then drag the snapshot’s blue tag to approximately 50. Drag the blue dot to adjust the value of the snapshot. 3 Click the first snapshot (the tag furthest to the left), then set the following values: a Set the Gaussian Blur.Amount to 150. b Set the Bottom Prism.X to 25. c Set the Top Prism.X to –25. This snapshot simulates the viewfinder of an SLR camera focused at one extreme. Chapter 11 Creating Templates for Final Cut Pro X 523 4 Click the third snapshot, then set the following values: a Set the Gaussian Blur.Amount to 150. b Set the Bottom Prism.X to –25. c Set the Top Prism.X to 25. This snapshot represents simulates the viewfinder of an SLR camera focused at the opposite extreme. Note: The middle snapshots values remain at 0, representing the SLR camera lens in sharp focus. 5 Drag the slider back and forth to see the effect of the rigged parameters. Be sure to drag only the slider control, not a snapshot tag. When the completed SLR effect is added to the Final Cut Pro X Timeline, this slider will appear in the Effect Inspector. In the next task, the rig slider will be published as “Focus.” In Final Cut Pro X, moving the Focus slider back and forth will simulate focusing in an SLR camera viewfinder. To publish the slider widget and the SLR effect template 1 In the Layers list, name the slider widget “Focus.” 2 Select the Rig or the Focus widget, then do one of the following in the Rig Inspector: • Click the Focus slider’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Publish from the pop-up menu. • Control-click the Focus slider’s parameter name, then choose Publish from the shortcut menu. 3 In the Layers list, select the Project object, then open the Publishing pane of the Project Inspector. 524 Chapter 11 Creating Templates for Final Cut Pro X The Focus slider appears in the Published Parameters list, indicating which parameter controls will appear in the Final Cut Pro Inspector. 4 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Effects Browser as “New Template.” b Choose a category from the Category pop-up menu. You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Effects Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro X Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d If you don’t want a preview movie to appear in the Motion Project Browser, deselect Save Preview Movie. The template appears in the Final Cut Pro Effects Browser, ready for use. For information on keyframing parameters in Final Cut Pro, see Final Cut Pro X Help. e Click Publish. Creating a Title for Final Cut Pro X Use the Final Cut Title template to create a custom title for use in Final Cut Pro X. For detailed information on the Project Browser, see The Project Browser. For information on working with titles in Final Cut Pro, see Final Cut Pro Help. To create a title template 1 In Motion, choose File > New From Project Browser (or press Command-Option-N). The Project Browser appears. Chapter 11 Creating Templates for Final Cut Pro X 525 2 In the Project Browser, click Final Cut Title, then choose a project size from the Preset pop-up menu. Important: Be sure to create the template at the highest resolution you will use in your Final Cut Pro project. 3 Click Open (or press Return). If the correct preset is already chosen, you can double-click Final Cut Title in the Project Browser. A new, untitled Motion project opens containing two layers: a text layer (Type Text Here) and a placeholder layer (Title Background). 4 To add a reference image to the Title Background placeholder to preview your work, do one of the following: • From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved a arrow, release the mouse button. • From the File Browser or Library, drag an image to the Title Background layer in the Layers list. When the pointer becomes a curved arrow, release the mouse button. Be sure to drag the image from the File Browser or Library to the placeholder. If you accidentally place the image into a new layer, you can’t to move it to the placeholder layer. The image is added to the Title Background layer, replacing the arrow graphic in the Canvas, and is resized if it is not the same size as the project. The image is temporary media used to preview the result of the effect you are building. It is not used in the Final Cut Pro X title. 5 Modify the text as needed and add animation, filters, text behaviors, and other effects to create custom titles. Because users can change the text in Final Cut Pro, it’s not necessary to modify the default text (“Type Text Here”) in Motion. You can adjust and animate parameters in the Text Inspector, Filters Inspector, Behaviors Inspector, and Properties Inspector to create a memorable title sequence. For more information about using text, see Creating and Editing Text and Animating Text. 6 To allow Final Cut Pro users to modify specific parameters, choose Publish from the Animation pop-up menu of each parameter you want to make accessible. 526 Chapter 11 Creating Templates for Final Cut Pro X Publishing a parameter makes its user interface control (the slider, checkbox, or dial) available in the Final Cut Pro Inspector when the custom title is added to a clip. Published parameters can be adjusted and keyframed in Final Cut Pro. For more information, see Publishing Parameters in Templates. For information specific to publishing text parameters, see Publishing Text Parameters. 7 Optional: When you're satisfied with the custom title you’ve built, you can remove the preview image from the template by selecting the Effect Source layer, then clicking the Clear button in the Image Inspector. The temporary image is removed and not saved to the template’s Media folder. For more information, see Template Files and Media Save Location. 8 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Titles Browser as “New Template.” b Choose a category from the Category pop-up menu. You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Titles Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create n themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie. 9 Click Publish. The template and remaining media are saved and exported to the Final Cut Pro Titles Browser. Creating a Title Background When a title template that contains a Title Background placeholder is added to the main Timeline in Final Cut Pro, the placeholder is ignored. To specify a background source clip in the Final Cut Pro project, you can add a drop zone to the title template and then assign media to the drop zone in Final Cut Pro. Chapter 11 Creating Templates for Final Cut Pro X 527 Drop zones in templates allow Final Cut Pro X users to place media into designated regions of the applied effect. You can add filters, behaviors, animations, and other effects to drop zones in Motion so those effects influence clips later added in Final Cut Pro. For more information on drop zones, see Drop Zones. To add a background for a title template µ In the Final Cut Title project, choose Object > New Drop Zone. A drop zone layer (titled “Drop Zone”) appears in the layers list and Canvas. When the title is added to a Final Cut Pro project, a Drop Zone image well appears in the Final Cut Pro Inspector. Using this image well, an editor can add a source clip that appears beneath the titles. Using the drop zone’s onscreen controls, an editor can pan or scale the source clip within the drop zone. For more information, refer to Final Cut Pro Help. Modifying a Final Cut Pro X Title in Motion The presets in the Final Cut Pro X Titles Browser were created in Motion. You can modify these presets in Motion, then save them as new title effects in Final Cut Pro. To modify a Final Cut Pro X title in Motion 1 In Final Cut Pro, click the Titles Browser button in the toolbar. The Titles Browser appears. 2 Locate the title effect to edit. To preview the title effect, move the pointer over title effect’s thumbnail. 3 Control-click the title and do one of the following: • If the title is a Final Cut Pro X preset, choose “Open a copy in Motion” from the shortcut menu. A copy of the project opens in Motion, and the duplicated file appears in the Final Cut Pro Titles Browser. • If the title is a template created in Motion, choose “Open in Motion” from the shortcut menu. The original project opens in Motion. If the preview image used when creating the effect in Motion was saved with the project, that media appears in the template. 4 Modify the project in Motion, then do one of the following: • To save a copy of the Final Cut Pro preset with the default name, choose File > Save. • To save a copy of the Final Cut Pro preset with a new name, choose File > Save As, complete the save dialog information, then click Publish. • To save the updated Motion-created template and overwrite the original version, choose File > Save. 528 Chapter 11 Creating Templates for Final Cut Pro X • To save the updated Motion-created template as a copy, choose File > Save As, complete the save dialog information, then click Publish. Note: When a preset Final Cut Pro title is applied to the Final Cut Pro Timeline and then modified in Motion, the saved changes do not affect instances of the template in the Final Cut Pro Timeline. However, after the modified version of the preset is applied to the Final Cut Pro Timeline, any subsequent changes made in Motion to the template affect instances of the title in the Final Cut Pro Timeline. The template is saved and appears in Titles Browser in Final Cut Pro. Creating a Transition for Final Cut Pro X Use the Final Cut Transition template to create a custom transition for use in Final Cut Pro X. For detailed information on the Project Browser, see The Project Browser. For information on applying and editing transitions in Final Cut Pro, see Final Cut Pro Help. To create a transition template 1 In Motion, choose File > New From Project Browser (or press Command-Option-N). The Project Browser appears. 2 In the Project Browser, click Final Cut Transition, then choose a project size from the Preset pop-up menu. Important: Be sure to create the template at the highest resolution you will use in your Final Cut Pro project. 3 Click Open (or press Return). If the correct preset is already chosen, you can double-click Final Cut Transition in the Project Browser. A new, untitled Motion project opens containing two placeholder layers: Transition A and Transition B. 4 To add a reference image to the placeholders to preview your work, do the following: a From the File Browser or Library, drag an image onto the Transition A layer in the Layers list (or onto the Transition A arrow in the Canvas). When the pointer becomes a curved arrow, release the mouse button. Chapter 11 Creating Templates for Final Cut Pro X 529 b From the File Browser or Library, drag a second image onto the Transition B layer in the Layers list. When the pointer becomes a curved arrow, release the mouse button. Be sure to drag the images directly from the File Browser or Library to the placeholders. If you accidentally place the images into a new layer, you can’t move them to the placeholder layers. The images are added to the Transition A and B placeholder layers, replacing the arrow graphics in the Canvas, and are resized if they are not the same size as the project. The images serve as temporary media to preview the result of the transition you are building. They are not used in the Final Cut Pro X transition. 5 Modify Transition A and Transition B so they flow into each other midway through the transition, using filters, behaviors, or other combinations of effects. For example, animate a lens flare that moves across the screen as Transition A fades into Transition B. When designing the template, think about how to best get the end of incoming clip A to line up with the beginning of the transition, and the end of the transition to line up with the incoming clip B. For example, a transition that begins on a full-screen Placeholder A and ends on a full-screen Placeholder B avoids jarring jumps. Because the default behavior between the transition placeholders is a cut, you will often need to adjust the placeholder timebars so they overlap in the Timeline to smooth out your transition, and then animate their opacity using keyframes or a behavior. Note: To override the default transition length set in Final Cut Pro Preferences and use the duration of the transition template, select the Project object in the Layers list, then select the Override FCP Duration checkbox in the Properties Inspector. For more information on working with filters, see Using Filters. For more information on behaviors, see Using Behaviors. 6 To allow Final Cut Pro users to modify parameters, choose Publish from the Animation pop-up menu of each parameter you want to make accessible. Publishing a parameter makes its user interface control (the slider, checkbox, or dial) available in the Final Cut Pro Inspector when the custom effect is applied to a clip. Published parameters can be adjusted and keyframed in Final Cut Pro. For more information, see Publishing Parameters in Templates. 7 Optional: When you're satisfied with the transition you’ve built, you can remove the preview images from the template by selecting each Transition layer, then clicking the Clear button in the Image Inspector. The temporary image is removed. 8 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Transitions Browser as “New Template.” 530 Chapter 11 Creating Templates for Final Cut Pro X b Choose a category from the Category pop-up menu. You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Transitions Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie. 9 Click Publish. The template and remaining media are saved and exported to the Final Cut Pro Transitions Browser. Creating a Transition Background You might want a custom transition to include a background image or clip. For example, if your Transition A and Transition B clips are animated to scale down and the Viewer background becomes visible, you might want a background image to cover the screen. A background can be created by adding a drop zone to the transition template. After the template is applied to a Final Cut Pro project, you can assign source media to the drop zone. Drop zones in templates allow Final Cut Pro X users to place media into designated regions of the applied effect. You can add filters, behaviors, animations, and other effects to drop zones in Motion to affect clips later added in Final Cut Pro. For more information on drop zones, see Drop Zones. To create a background for a transition template 1 In the Final Cut Transition project, choose Object > New Drop Zone. A drop zone layer (titled “Drop Zone”) appears in the layers list and Canvas. Chapter 11 Creating Templates for Final Cut Pro X 531 2 Select the drop zone layer, then do one of the following in the Image Inspector: • To use a clip as the drop zone’s source media in Final Cut Pro, choose Media Source from the Type pop-up menu. When the transition is added to a Final Cut Pro project, a Drop Zone image well appears in the Final Cut Pro Inspector. Using this image well, an editor can add a source clip that appears as a background during the custom transition. For more information, refer to the Final Cut Pro X Help. • To use a still image as the drop zone’s media source in Final Cut Pro, choose Timeline Pin from the Type pop-up menu. When the transition is added to a Final Cut Pro project, you can select a single frame of a clip as the source frame in the drop zone by dragging a numbered handle along the Timeline. For more information, see Final Cut Pro X Help. Note: You can set a drop zone background color that is apparent when the drop zone’s source media is panned or scaled. For more information, see Drop Zones. Modifying a Final Cut Pro X Transition in Motion Many presets in the Final Cut Pro X Transitions Browser were created in Motion. You can modify these presets in Motion, then save them as transitions in Final Cut Pro. To modify a transition in Motion from Final Cut Pro X 1 In Final Cut Pro X, click the Transitions Browser button in the toolbar. The Transitions Browser appears. 2 Locate the transition to edit. To preview of the effect, move the pointer over the transition’s thumbnail. 532 Chapter 11 Creating Templates for Final Cut Pro X 3 Control-click the transition and do one of the following: • If the transition is a Final Cut Pro preset, choose “Open a copy in Motion” from the shortcut menu. A copy of the project opens in Motion, and the duplicated file appears in the Final Cut Pro Transitions Browser. Note: The “Open a copy in Motion” command is not available for FxPlug transitions. • If the transition is a template created in Motion, choose “Open in Motion” from the shortcut menu. The original project opens in Motion. If the preview image used when creating the transition in Motion was saved with the project, that media appears in the template. 4 Modify the project, then do one of the following: • To save a copy of the Final Cut Pro preset with the default name, choose File > Save. • To save a copy of the Final Cut Pro preset with a new name, choose File > Save As, complete the save dialog information, then click Publish. • To save the updated Motion-created template and overwrite the original version, choose File > Save. • To save the updated Motion-created template as a copy, choose File > Save As, complete the save dialog information, then click Publish. Note: When a preset Final Cut Pro transition is applied to the Final Cut Pro Timeline and then modified in Motion, the saved changes do not affect instances of the template in the Final Cut Pro Timeline. However, after the modified version of the preset is applied to the Final Cut Pro Timeline, any subsequent changes made in Motion to the template affect instances of the transition in the Final Cut Pro Timeline. The template is saved and appears in Transitions Browser in Final Cut Pro. Example: Creating a Prism Blur Transition This example demonstrates how to create an original, simple Final Cut Pro X transition in Motion. Clip A dissolves into clip B with a prism blur effect. To create a prism blur transition effect 1 Choose File > New (or press Command-N). 2 In the Project Browser, select Final Cut Transition, choose the project preset required for your FCP X project, set the Duration to 200 frames, then click Open. Note: This example uses the Broadcast HD 720 preset. The project opens and contains a single group with two placeholder layers: Transition A and Transition B. Chapter 11 Creating Templates for Final Cut Pro X 533 3 Optional: You can drag a still image from the File Browser to Transition A in the Layers list and then drag a different still image to Transition B, releasing the mouse button when the pointer changes to a curved arrow. Doing so gives you a better view of the transition you are building. Note: This example does not use any images. When you play the project (press the Space bar), no transition is present by default. Transition A ends, and transition B begins abruptly. 4 In the Timeline, position the pointer over the end of the Transition A bar, and when the arrow becomes a trim pointer, drag the bar to the end of the project. 5 Drag the beginning of the Transition B bar to frame 80. 6 Animate the opacity of Transition A by doing the following: a Click the Record button (press A) and select Transition A. b Drag the playhead to frame 1 and set Opacity to 100 in the Properties Inspector. Because the default Opacity value is 100, move the Opacity value slider back and forth, or enter 100 in the value field to be sure a keyframe is created. Tip: To see keyframes in the Timeline, click the Show/Hide Keyframes button in the upper-right corner of the Timeline track area. c At frame 80, set Opacity to 100. 534 Chapter 11 Creating Templates for Final Cut Pro X Again, adjust the Opacity value to be sure a keyframe is created. This prevents any dipping to black as transition A fades into transition B. d At frame 130, set Opacity to 0. When you play the project, Transition A fades into Transition B. 7 In the Layers list, select the Group. 8 In the toolbar, choose Blur > Prism from the Add Filter pop-up menu. 9 Animate the blur amount of the Prism filter: a Drag the playhead to frame 1, then open the Filters Inspector and set Amount to 0. b At frame 105, set Amount to 50. c At frame 200, set Amount to 0. When you play the project, Transition A fades into Transition B with a prism blur that moves right, then left. 10 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Transitions Browser as “New Template.” b Choose a category from the Category pop-up menu. You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Transitions Browser. c If needed, choose a theme from the Theme pop-up menu. Chapter 11 Creating Templates for Final Cut Pro X 535 You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie. After the prism blur transition is applied to the Final Cut Pro X Timeline, its duration can be easily modified. For more information transition duration, see Final Cut Transition. Creating a Generator for Final Cut Pro X Use the Final Cut Generator template to create a custom generator for use in Final Cut Pro X. A generator template is similar to a standard Motion project. However, when saved, it is exported to the Generators Browser in Final Cut Pro. Like any content added to a Final Cut Pro project, a generator template can be composited over a clip in the Final Cut Pro Timeline, or added to the main Timeline. The duration of the generator in Final Cut Pro is determined by its duration when created and saved in Motion. For detailed information on the Project Browser, see The Project Browser. For information on working with generators in Final Cut Pro X, see Final Cut Pro X Help. To create a generator template 1 In Motion, choose File > New From Project Browser (or press Command-Option-N). The Project Browser appears. 2 In the Project Browser, click Final Cut Generator, then choose a project size from the Preset pop-up menu. Important: Be sure to create the template at the highest resolution you will use in your Final Cut Pro project. 3 Click Open (or press Return). 536 Chapter 11 Creating Templates for Final Cut Pro X If the correct preset is already chosen, you can double-click Final Cut Generator in the Project Browser. A new, untitled project opens. The project contains no placeholders. 4 Build the project as you would any other Motion project, using shapes, text, behaviors, camera animation, and so on. Note: You can also add drop zones to create additional effects, such as a picture-in-picture effect. Drop zones allow Final Cut Pro X users to place media into designated regions of the applied effect. For more information about adding drop zones to a Motion project, see Drop Zones. 5 To allow Final Cut Pro users to modify specific parameters, choose Publish from the Animation pop-up menu of each parameter you want to make accessible. Publishing a parameter makes its user interface control (the slider, checkbox, or dial) available in the Final Cut Pro Inspector when the custom effect is applied to a clip. Published parameters can be adjusted and keyframed in Final Cut Pro. For more information, see Publishing Parameters in Templates. Note: If you have many parameters that you want to control with a single control, you can rig the parameters to a slider, pop-up menu, or checkbox. When the rig controls are published with a template, the slider, pop-up menu, or checkbox becomes available in the Final Cut Pro X project. For more information, see Using Rigs. 6 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Generators Browser as “New Template.” b Choose a category from the Category pop-up menu. You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Effects Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie. 7 Click Publish. Chapter 11 Creating Templates for Final Cut Pro X 537 The template and remaining media are saved and exported to the Final Cut Pro Generators Browser. Modifying a Final Cut Pro X Generator in Motion Many presets in the Final Cut Pro X Generators Browser were created in Motion. You can modify these presets in Motion, then save them as generators in Final Cut Pro. To modify a Final Cut Pro X generator in Motion 1 In Final Cut Pro X, click the Generators Browser button in the toolbar. The Generators Browser appears. 2 Locate the generator to edit. To preview the generator, move the pointer over the generator’s thumbnail. 3 Control-click the generator and do one of the following: • If the generator is a Final Cut Pro preset, choose “Open a copy in Motion” from the shortcut menu. A copy of the project opens in Motion. • If the generator is a template created in Motion, choose “Open in Motion” from the shortcut menu. The original project opens in Motion. 4 Modify the project in Motion, then do one of the following: • To save a copy of the Final Cut Pro preset with the default name, choose File > Save. • To save a copy of the Final Cut Pro preset with a new name, choose File > Save As, complete the save dialog information, then click Publish. • To save the updated Motion-created template and overwrite the original version, choose File > Save. • To save the updated Motion-created template as a copy, choose File > Save As, complete the save dialog information, then click Publish. Note: When a preset Final Cut Pro generator is applied to the Final Cut Pro Timeline and then modified in Motion, the saved changes do not affect instances of the template in the Final Cut Pro Timeline. However, after the modified version of the preset is applied to the Final Cut Pro Timeline, any subsequent changes made in Motion to the template affect instances of the generator in the Final Cut Pro Timeline. The template is saved and appears in Generators Browser in Final Cut Pro. 538 Chapter 11 Creating Templates for Final Cut Pro X Publishing a Standard Motion Project as a Final Cut Pro X Template When possible, use the Final Cut Effect, Title, Transition, and Generator templates to create effects content for Final Cut Pro X. However, if necessary, you can convert a standard Motion project for use in Final Cut Pro. There are two ways to do this: • Publish the Motion project as a Final Cut Generator, which exports the template to the Final Cut Pro Generators Browser, where it can be applied to the Timeline and edited like any other generator. • Save the Motion project as a QuickTime file, then import the QuickTime movie into the Final Cut Pro project like any other footage. Although you cannot add an Effect Source, Transition A, Transition B, or Title Background placeholder to a Motion project, you can add standard drop zones, which let Final Cut Pro users insert customized content into the generator. Like template projects, standard Motion projects let you publish specific parameters to the Final Cut Pro Inspector. For more information on publishing parameters, see Publishing Parameters in Templates. To publish a standard Motion project as a generator in Final Cut Pro X 1 When you save your project, choose File > Publish Template. 2 In the save dialog, enter a name for the template, complete the other options, then select Publish as Final Cut Generator. For more information about save dialog options for templates, see Creating a Generator for Final Cut Pro X. 3 Click Publish. The template is saved and appears in Generators Browser in Final Cut Pro. Using Media in Template Placeholders When creating a custom template for Final Cut Pro X, you can add an image to a placeholder layer to preview the effect you are building. Important: When adding preview media to a placeholder, use a still image rather than a video clip, which can introduce timing conflicts in Final Cut Pro. To add a placeholder image to a template Do one of the following: µ From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved arrow, release the mouse button. µ From the File Browser or Library, drag an image to the Effect Source layer in the Layers list. When the pointer becomes a curved arrow, release the mouse button. Chapter 11 Creating Templates for Final Cut Pro X 539 When you publish the template, the image is saved with the template. If you replace the image placeholder after you’ve saved the template, you have the option to save the new image with the new template. To replace an image in a template saved with media 1 To replace a reference placeholder image, do one of the following: • From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved arrow, release the mouse button. • From the File Browser or Library, drag an image to the Effect Source layer in the Layers list. When the pointer becomes a curved arrow, release the mouse button. 2 Choose File > Save (or press Command-S). The “Media exists outside the document. Do you wish to copy it?” dialog appears. 3 Do one of the following: • To save the new image with the template in the /Users/username/Movies/ folder, click Copy. • To save the template without the new image, click Don’t Copy. When you save a template, media used in the project is stored on your computer in the same folder as the template (/Users/username/Movies/Motion Templates/), potentially creating multiple instances of media files and taking up valuable hard disk space. If the “Include unused media” checkbox is selected in the template’s save dialog, media in the Media pane (the storage area for media not used in the project) of the Motion project is also saved to this location. To prevent creating duplicates of images on your hard disk, you can clear placeholder images from templates before saving. When you clear a placeholder image, its source media is not loaded into Motion the next time you modify the template (by choosing the “Open a copy in Motion” command in the Final Cut Pro media browsers). To clear media from a template placeholder 1 In the template project, select an Effect Source, Title Background, Transition A, or Transition B placeholder. 2 In the Image Inspector, click the Clear button in the Final Cut Placeholder controls. 540 Chapter 11 Creating Templates for Final Cut Pro X The preview media is removed from the template, and the placeholder arrow reappears in the affected layer. Click the Clear button to clear media from the template placeholder. To manually remove media saved with a template 1 In the Finder, go to the /Users/username/Movies/Motion Templates/ folder. 2 In the appropriate Effects, Titles, or Transitions folder, open the theme folder that contains your template, the open the Media folder. 3 Drag the media to the Trash. Saving a template containing a source image in the placeholder saves the image to the template’s Media folder (/Users/username/Movies/Motion Templates/). If you replace the placeholder image and save the template again, a dialog may appear stating “Media exists outside the document. Do you wish to copy it?” Click Copy to save the new image with the template media. Publishing Parameters in Templates When you create a template (an effect, transition, title, or generator) for Final Cut Pro X, you can publish nearly any parameter. Publishing a parameter places its user interface control (a slider, dial, checkbox, and so on) in the Final Cut Pro Inspector, where it can be adjusted to modify an applied effect, transition, title, or generator. Publishing parameters also lets you to decide how much control (if any) a Final Cut Pro user has over modifying an an effect. The easiest way to publish a parameter from Motion to Final Cut Pro is to choose the Publish command from the parameter’s animation pop-up menu (the downward arrow on the right side of a parameter row in the Inspector). When you save the template, the published parameter is exported with the effect to Final Cut Pro. Chapter 11 Creating Templates for Final Cut Pro X 541 When you publish a compound parameter (a parameter with nested subparameters), the parameter and its subparameter controls appear in the Final Cut Pro Inspector, like any other published parameter. If the subparameter controls are not visible, click the disclosure triangle next to the parameter name in the Final Cut Pro Inspector to reveal them. You can also publish onscreen controls for filters (in addition to filter parameters). When you do so, onscreen controls for the published filter become available in the Final Cut Pro Viewer. Using Rigs in Templates You can map multiple parameters to a single control in Final Cut Pro by adding rigs to the template and publishing them. Rigs let you link parameters to a slider, pop-up menu, or checkbox to simplify or limit the allowable adjustments in a Motion or Final Cut Pro project. When you publish a rig control (known as a widget) in Motion, a master slider, pop-up menu, or checkbox appears in the Final Cut Pro Inspector, enabling editors to make complex effect adjustments with simplified controls. For more information about rigs and widgets, see Using Rigs. In addition to publishing parameter controls, you can publish a checkbox that lets Final Cut Pro users toggle the effect of a filter or behavior used in the template. You do this in Motion by publishing the header row (the row with the blue activation checkbox) of a behavior or filter. When the template is saved in Motion and applied to a clip in Final Cut Pro, a checkbox with the name of the published filter or behavior appears in the Final Cut Pro inspector. Deselecting the checkbox disables the effect of that filter or behavior (including its constituent parameters). The following Motion items cannot be published in templates for Final Cut Pro: • Image wells (except for drop zone Source Media wells). • Mini-curve editors. • Source Audio wells for the Audio Parameter behavior. • Timing controls in the Image Inspector or Media Inspector. • Retiming behaviors (such as Ping Pong, Loop, and Stutter). • Some rig widget options (Slider: Range Minimum/Range Maximum). • Project properties (such as Pixel Aspect Ratio, Frame Rate, and Background Color in the Properties Inspector.) • Graphs from the Keyer filter. • Non-compound groups of controls, such as the Lighting parameter in the Properties Inspector. 542 Chapter 11 Creating Templates for Final Cut Pro X • The onscreen path for the Motion Path behavior. (Parameters can be published that allow editing of the path in the Final Cut Inspector, but the path does not appear in the Final Cut Pro Viewer.) In general, Motion lets you publish most parameters in the application. However, some publishable parameters are not supported in Final Cut Pro. The following items have components that are not accessible after a template is added to a Final Cut Pro project: • Parameters related to text path onscreen controls • Mask or shape control points • Parameters with deselected activation checkboxes • The Histogram in the Levels color correction filter To publish a parameter in a template 1 In the effect, transition, title, or generator template, select the image layer, filter, or behavior containing the parameter to publish. 2 In the selected item’s Inspector, do one of the following: • Click the parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Publish. • Control-click the parameter’s name, then choose Publish from the shortcut menu. To publish a compound parameter (a parameter with nested subparameters) 1 In the template project, select the image layer or effects object containing the compound parameter to publish. Chapter 11 Creating Templates for Final Cut Pro X 543 2 Open the selected item’s Inspector. To publish a compound parameter to Final Cut Pro in a collapsed state (its subparameters hidden by a disclosure triangle), make sure the parameter's disclosure triangle is closed. To publish a compound parameter in an expanded state (disclosure triangle open and its subparameters exposed), make sure the parameter’s disclosure triangle is open. 3 Do one of the following: • Click the parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Publish. • Control-click the parameter’s name, then choose Publish from the shortcut menu. The parameter and its subparameter controls are published. When the template is applied to a clip in Final Cut Pro, the compound parameter retains its state (collapsed or expanded) at the time of publishing. If the result is not what you expected, click the disclosure triangle in the Final Cut Pro Inspector to expand or collapse the subparameters manually. Published Rotation parameter in the Publishing pane of the Motion Project Inspector Note: Examples of parameters with subparameters include Scale (with X, Y, and Z values) and Shear (with X and Y values). You can also publish specific subparameters of a compound parameter. This is a good way to limit an editor’s control over effects parameters in Final Cut Pro project. To publish subparameters of a compound parameter 1 In the template project, select the image layer or effect object containing the subparameter to publish. 2 In the item’s Inspector, click the compound parameter’s disclosure triangle to show its subparameters. 3 For each parameter to publish, do one of the following: • Click the parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Publish. • Control-click the parameter’s name, then choose Publish from the shortcut menu. The subparameter is listed in the Published Parameters list. 544 Chapter 11 Creating Templates for Final Cut Pro X To publish an on/off checkbox for a filter or behavior 1 Select the filter or behavior whose activation checkbox you want to publish. 2 In the Behaviors or Filters Inspector, do one of the following: • In the header row of the behavior or filter, click the Animation menu (the downward triangle that appears when you place the pointer over the right side of the row), then choose Publish. • Control-click the behavior or filter name, then choose Publish from the shortcut menu. Note: If you publish only the blue activation checkbox and no other parameters in the behavior or filter’s group of controls, only the checkbox is published. To publish a rig control (widget) 1 Add a rig to the template, assigning specific parameters to the rig’s widget controls. For more information about building rigs, creating widgets, and assigning parameters, see Using Rigs. 2 Select the rig, then do one of the following in the Rig Inspector: • In the Checkbox, Pop-up, or Slider widgets, click the Animation menu (the downward triangle that appears when you place the pointer over the right side of the widget’s parameter row), then choose Publish from the shortcut menu. • Control-click the Checkbox, Pop-up, or Slider parameter name, then choose Publish from the shortcut menu. To publish a gradient editor 1 In the template project, select the image layer or effect object that contains the gradient editor to publish. 2 In the item’s Inspector, Control-click the Gradient parameter, then choose Publish from the shortcut menu. Gradient editor controls are published when the template is saved. To publish a filter’s onscreen controls 1 In the template project, select the filter object. Chapter 11 Creating Templates for Final Cut Pro X 545 2 In the Filters Inspector, select the Publish OSC checkbox. Select the Publish OSC checkbox to publish the filter’s onscreen controls. The Inspector parameters that onscreen controls manipulate are not published with the template. To control the parameters numerically when the template is added to a Final Cut Pro X project, the parameters must also be published. For more information about filter onscreen controls, see Adjusting Filter Onscreen Controls and Publishing Filter Parameters and Onscreen Controls. Note: To animate onscreen control values in the Final Cut Pro X curve editor, the onscreen controls must be published. To review parameters set to be published in a template 1 In the Layers list, click Project. 2 In the Project Inspector, click Publishing. Parameters (for all object types) set to be published appear in the list. To reorder parameters in the Publishing pane 1 In the Layers list, click Project. 2 In the Project Inspector, click Publishing. 3 Drag a parameter up or down in the Published Parameters list. To customize a published parameter name in a template 1 In the Layers list, click Project. 2 In the Project Inspector, click Publishing. 3 In the Published Parameters list, double-click the name of a parameter, enter a name, then press Return. Note: To navigate to the originally published parameter (before the name change), Control-click the parameter and choose Reveal Original Parameter. 546 Chapter 11 Creating Templates for Final Cut Pro X To unpublish a parameter in the Inspector µ In the image layer or effect object’s Inspector, do one of the following: • Click the parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Unpublish. • Control-click the parameter name, then choose Unpublish from the shortcut menu. To unpublish a parameter in the Publishing pane 1 In the Layers list, click Project. 2 In the Project Inspector, click Publishing, then do one of the following: • Click the Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Unpublish from the shortcut menu. • Control-click the parameter name, then choose Unpublish from the shortcut menu. Publishing Text Parameters When you apply a Final Cut Title template or Final Cut Generator template containing text to a clip in Final Cut Pro X, a default Text pane appears in the Final Cut Pro X Inspector. The Final Cut Pro Text pane contains many of the same parameter controls as the Motion Text Inspector (Font, Size, Alignment, and so on). When a Final Cut Title or Final Cut Generator template contains published text parameters, those parameters appear in a separate pane in the Final Cut Pro Inspector: the Title pane. To modify advanced text parameters in Final Cut Pro, publish them before saving the template in Motion. For information on text parameters in the Format, Style, and Layout panes in the Motion Inspector, see Creating and Editing Text. You can also edit text in an applied Final Cut Pro template using onscreen controls in the Final Cut Pro Viewer. Text in a generator, title, or effects template can be edited using these onscreen text controls. If the text was saved in Motion in Paragraph layout (in the Layout pane of the Text Inspector), the text appears with the rulers in the Final Cut Pro Viewer when you double-click the text in the Viewer. If the text was saved in Motion with Type selected from the Layout Method pop-up menu, the text appears on a single line in the Final Cut Pro Viewer, with an onscreen transform tool. For more information on working with text in Final Cut Pro X, see Final Cut Pro X Help. Chapter 11 Creating Templates for Final Cut Pro X 547 The Text pane in the Final Cut Pro Inspector includes many of the same controls available in the Motion Text Inspector. If you want to control a parameter not included in the following list, publish that parameter in the title or generator template in Motion. • The Text pane in the Final Cut Pro Inspector contains the same basic formatting parameters as the Format pane of the Motion Text Inspector (except for the Collection pop-up menu): • Text Style preset pop-up menu (unlabeled) • Font pop-up menu • Typeface pop-up menu • Size slider • Alignment buttons • Vertical Alignment buttons • Line Spacing slider • Tracking slider • Kerning slider • Baseline slider • The Text pane in the Final Cut Pro Inspector contains the following Face parameters that appear in the Style pane of the Motion Text Inspector: • Color/Gradient/Texture controls: A group of controls used to set text fill color, gradient, or texture, depending on which item is selected in the Face pop-up menu. Click the disclosure triangle to adjust additional parameters. • Opacity slider. • Blur slider. • The Text pane in the Final Cut Pro Inspector contains the following Outline parameters that appear in the Style pane of the Motion Text Inspector: • Color/Gradient/Texture controls: A group of controls used to set text outline color, gradient, or texture, depending on which item is selected in the Outline pop-up menu. Click the disclosure triangle to adjust additional parameters. • Opacity slider. • Blur slider. • Width slider. • The Text pane in the Final Cut Pro Inspector contains some of the Glow parameters that appear in the Style pane of the Motion Text Inspector: • Color/Gradient/Texture controls: A group of controls used to set text glow color, gradient, or texture, depending on which item is selected in the Glow pop-up menu. Click the disclosure triangle to adjust additional parameters. 548 Chapter 11 Creating Templates for Final Cut Pro X • Opacity slider. • Blur slider. • Radius slider. • The Text pane in the Final Cut Pro Inspector contains the following Drop Shadow parameters that appear in the Style pane of the Motion Text Inspector: • Color/Gradient/Texture controls: A group of controls used to set text drop shadow color, gradient, or texture, depending on which item is selected in the Drop Shadow pop-up menu. Click the disclosure triangle to adjust additional parameters. • Opacity slider. • Blur slider. • Distance slider. • Angle dial. The Text editor available in the Motion Text Inspector is also available in the Text pane in the Final Cut Pro Inspector. This text field allows you to enter and edit text in the Inspector rather than in the Viewer in Final Cut Pro. The Text editor is useful when working with large amounts of text. Note: When you publish a text parameter already in the Text pane of the Final Cut Pro X Inspector, the parameter appears in the Title pane and the Text pane of the Final Cut Pro Inspector. Changes made to the parameters in the Title pane affect the same parameters in the Text pane, and vice versa. Although you can publish nearly any Motion text parameter, not all associated controls are available after the template is applied to a clip in Final Cut Pro. For example, if the Layout Method parameter is set to Path, you can edit the text path in Motion’s Canvas using the path onscreen controls. In Final Cut Pro, the text appears along the shape of its path, but no onscreen controls are available to change the shape of the path in the Final Cut Pro Viewer. If the Layout Method parameter is published, you can change the Layout Method in Final Cut Pro from Path to Paragraph or Line, for example. Animation and Timing in Templates Effect, title, transition, and generator templates can include animation like a standard Motion project. When the template is added to a clip in Final Cut Pro X, animation in the placeholder is applied to the clip, whether created by behaviors or keyframes. Animation in the template that is longer than the duration of the clip to which it’s applied in Final Cut Pro is scaled to fit. Chapter 11 Creating Templates for Final Cut Pro X 549 Important: If you don’t want your template animation scaled to fit the duration of the clip it is applied to in Final Cut Pro X, you can use markers to designate segments where the animation is locked. Additionally, you can use markers to designate sections where animation loops indefinitely in the Final Cut Pro project. For more information, see Working with Markers in Templates. Animation Guidelines When publishing parameters in your templates, consider the following guidelines: • When possible, avoid publishing keyframed parameters. Published keyframes can cause unexpected results when you edit or further animate the parameters in the Final Cut Pro Inspector. • Do not publish a parameter that is controlled by a behavior. For example, if you publish an Opacity parameter that is controlled by an applied Fade In/Fade Out behavior, you cannot adjust the opacity parameter after the template is added to the Final Cut Pro X project. • Because the duration of templates often conflicts with the duration of the Final Cut Pro clips they are applied to, try to publish nonanimated parameters in the template, then keyframe those parameters in Final Cut Pro. • Use behaviors instead of keyframes in templates when possible. Behaviors can be a more flexible animation tool for templates. Behaviors don’t rely on specific timing or use keyframes to create an animation. Publish behavior parameters that you want to control in Final Cut Pro. For more information on working with keyframes, see Keyframes and Curves. For more information on using behaviors, see Using Behaviors. Depending on the template type, different timing rules apply when the template is added to the Final Cut Timeline. Timing Guidelines Depending on the template type, different timing rules apply when the template is added to the Final Cut Pro X Timeline: Final Cut Effect When you apply an effect template in Final Cut Pro X, the effect is integrated into the clip. For example, when a color-correction effect template that is 300 frames in Motion is saved and applied to a 2,300-frame clip in Final Cut Pro, the resulting effect is 2,300 frames. 550 Chapter 11 Creating Templates for Final Cut Pro X Animated effect templates are also scaled according to the duration of the clip they are applied to in Final Cut Pro. For example, if a template in Motion is 300 frames long, and the placeholder layer is animated to rotate 360 degrees (one complete rotation) from frames 0 to 300, when the template is applied to a 900-frame clip in Final Cut Pro, the complete rotation is stretched to 900 frames. You can override the timing adjustment in Final Cut Pro by applying markers to the template in Motion. For example, to control frame-counting effects, such as Timecode generators or grain effects, apply special markers to instruct Final Cut Pro when to play specific ranges of the template. For more information, see Adding Template Markers. Final Cut Transition In Final Cut Pro X, the default transition duration is set in the Editing pane of Final Cut Pro Preferences. When you apply a transition template to an edit point in the Final Cut Pro timeline, the duration of the transition effect is modified to the default transition duration. For example, in a Final Cut Pro Broadcast HD 1080 project (29.97 fps) with a default transition duration of two seconds, an applied 300-frame transition template is compressed to 60 frames (2 seconds at 29.97 fps). To override the transition duration setting in Final Cut Pro Preferences, select the Override FCP Duration checkbox in the Properties Inspector in Motion. If this checkbox is selected when the transition is saved, the transition retains its original duration when added to the Final Cut Pro project. Whether the transition duration uses the Final Cut Pro default or is overridden, you can adjust the in and out points of the transition in the Final Cut Pro Timeline. Final Cut Title When added to a Final Cut Pro project, a title template is anchored to the clip to which it is applied. Its duration is based on the duration of the template in Motion. After the title is applied, you can adjust its duration in the Final Cut Pro Timeline. Final Cut Generator When added to a Final Cut Pro project, a generator template uses its default duration (its duration when the template was created and saved in Motion). After the generator is applied, you can adjust its duration in the Final Cut Pro Timeline. Chapter 11 Creating Templates for Final Cut Pro X 551 Working with Markers in Templates Markers are visual reference points you add to the Timeline to identify specific frames. There are seven types of markers. The first type, known as Standard, is designed for use in Motion and has no effect if saved in a Final Cut template. The Standard marker type can be added to an object (an object marker) or to the overall project (a project marker). The remaining marker types, known as template markers, are designed to control the timing of templates in Final Cut Pro X. To apply a template marker, you must first apply a standard project marker, then change the marker type in the Edit Marker dialog. For more information on using working with markers in the Timeline, see Adding Markers. When building a template, you typically don’t know the duration of the clips it will be applied to in Final Cut Pro. Template markers let you control the timing of a template after it is applied in Final Cut Pro by designating regions in the Timeline to be played, ignored, or looped to match the duration of the target clip. You can also designate a specific frame to be used as the template’s thumbnail in the Final Cut Pro Effects, Transitions, or Titles Browser. Template markers fall into four categories: Build In, Build Out, Loop, and Poster Frame. Build In markers instruct Final Cut Pro to play an intro animation in specific instances. Build Out markers instruct Final Cut Pro to play an outro animation in specific instances. Loop markers indicate where the template should begin looping playback. Poster Frame markers determine the frame of a template to be used as the thumbnail for the template in the Final Cut Pro Effects, Transitions, or Titles Browser. Build In markers designate the end point of an intro section of a template, and instruct Final Cut Pro to play that section at the same speed as the original template (as created in Motion), regardless of the duration of the clip in the Final Cut Pro Timeline. Build Out markers designate the start of an outro section of a template, and instruct Final Cut Pro to play that section at the same speed as the original template (as created in Motion), regardless of the duration of the clip in the Final Cut Pro Timeline. You can also specify a build-in or build-out section as optional. When you add the optional Build In or Build Out marker, a corresponding checkbox is added to the Publishing pane of the Project Inspector in Motion. When you apply a template to a project, the checkbox also appears in the Final Cut Pro Inspector. Deselect the checkbox to disable the build-in or build-out portion of the effect. When you add Build In, Build Out, or Loop template markers to a Motion project, the Timeline ruler displays a gold glow over the affected region. 552 Chapter 11 Creating Templates for Final Cut Pro X If no Build In or Build Out markers are present, the entire template is time-stretched to correspond to the duration of the clip when applied in Final Cut Pro. If Build In or Build Out markers are present, only the portion of the Motion project between the marker-defined intro or outro section is time-stretched; the marker-defined region retains its original timing. When creating templates, use template markers to control which portions of the effect, title, transition, or generator are time-stretched and which portion are left alone. Note: Transition templates assume a default duration in Final Cut Pro (determined in Final Cut Pro Preferences). This duration can conflict with the effects of these marker types. For example, you might specify that the intro animation of a transition lasts for 45 frames, while the default duration in Final Cut Pro is set to 30 frames for the entire transition. To override the Final Cut Pro default duration, select the Override FCP Duration checkbox in the Project Properties Inspector of Motion. For more information, see Creating a Transition for Final Cut Pro X. The marker types include: • Standard: The default marker for use in Motion. This marker has no effect on templates in Final Cut Pro. • Build In – Mandatory: Indicates the last frame of an intro section. Frames between the beginning of the project and the Build In – Mandatory marker play for the duration specified in the Motion project. This intro is always played, regardless of where the template is placed in the Final Cut Pro Timeline. • Build In – Optional: Sets the last frame of an intro section. When a Build-In Optional marker is added to a template, a Build In checkbox is published (added to the Published Parameters list in the Publishing pane of the Project Inspector). After the template is added to a Final Cut Project, the Build In checkbox appears in the Inspector. Chapter 11 Creating Templates for Final Cut Pro X 553 When the Build In checkbox is selected in the Final Cut Pro Inspector, frames between the beginning of the project and the Build In – Optional marker play at the duration specified in the Motion project. When the checkbox is deselected, frames before the marker are not played. This section is played regardless of the state of the Build In checkbox. Build In – Optional marker The intro section is played only when the Build In checkbox is selected in the Final Cut Pro Inspector. • Build Out – Mandatory: Sets the first frame of an outro section. Frames between the Build Out – Mandatory marker and the end of the project play for the duration specified in the Motion project. This outro is always played, regardless of where the template is placed in the Final Cut Pro Timeline. • Build Out – Optional: Sets the first frame of an outro section. When a Build Out – Optional marker is added to a template, a Build Out checkbox is published (added to the Published Parameters list in the Publishing pane of the Project Inspector). After the template is added to a Final Cut Project, the Build In checkbox appears in the Inspector. 554 Chapter 11 Creating Templates for Final Cut Pro X When the Build Out checkbox is selected in the Final Cut Pro Inspector, frames between the Build Out – Optional marker and the end of the project play at the duration specified in the Motion project. When the checkbox is deselected, frames before the marker are time-stretched and frames after the marker are not played. The outro section is played only when the Build Out checkbox is selected in the Final Cut Pro Inspector. Build Out – Optional marker When the Build Out checkbox is deselected in the Final Cut Pro Inspector, this section is time stretched. • Project Loop End: Sets the last frame of the section to be included when the template is used in Final Cut Pro. When playback reaches this frame, the project plays from the beginning of the project or from the Build In marker, if present. Frames beyond the Project Loop End marker are never played. Project Loop End marker Frames in this section are looped. Chapter 11 Creating Templates for Final Cut Pro X 555 Setting a marker type to Project Loop End changes any marker set to a Build Out type back to Standard. Similarly, if a Project Loop End marker exists, adding an Outro marker resets the loop marker back to Standard. Tip: Adding a loop marker to the second frame in a template signals that the effect is time-invariant—the first frame of the project loops forever. This can be useful for generators that do not contain animation, such as a solid color generator, or for filters that are not animated by default, such as a color correction filter. Note: Templates with applied Time filters (Echo, Scrub, Strobe, Trails, or WideTime) should not use Loop markers, because unexpected timing results can occur. • Poster Frame: Sets the frame to be used as the template’s thumbnail in the Final Cut Pro Effects, Transitions, or Titles Browser. Adding Template Markers To create a template-specific marker (Build In, Build Out, Project Loop End, or Poster Frame), you must first add a project marker to a Motion project, then change its type in the Edit Marker dialog. To add a project marker 1 Position the playhead on the frame where you want the marker to appear. 2 Do one of the following: • Press Shift-M. • Ensure that no objects in the project are selected, then choose Mark > Markers > Add Marker. • Ensure that no objects in the project are selected, then press M or the Tilde key (`). • Ensure that no objects in the project are selected, Control-click the Timeline ruler, then choose Add Marker from the shortcut menu. A green marker appears in the Timeline ruler, and a green vertical line appears in the mini-Timeline. To move a marker µ Drag the marker to a position in the Timeline ruler. When you drag the marker, the current frame is displayed above the pointer. To change the marker type 1 Do one of the following: • Position the playhead over the marker, then choose Mark > Markers > Edit Marker. • Double-click the marker. • Control-click the marker, then choose Edit Marker from the shortcut menu. 2 In the Edit Marker dialog, choose a marker type from the Type pop-up menu. 556 Chapter 11 Creating Templates for Final Cut Pro X The Build In and Build Out markers appear as small green arrows in the Timeline ruler. The Project Loop Out marker appears as a small orange arrow. At the top of the ruler, the area specified as the intro, outro, or loop section displays a gold glow. For more information on the Edit Marker dialog, see Adding Markers. Template Resolution Before you create a template, decide what resolution your project requires. Although the template scales to fit the resolution of the Final Cut Pro X project it is applied to, you should create the template at the highest resolution you will use. Note: If you plan to loop template animation, or you need to match the template and a Final Cut Pro project frame for frame, create the template with the same frame rate as the Final Cut Pro project. For more information on looping template animation, see Adding Template Markers. Additionally, several display aspect ratio settings for the template can be saved in a single template project. For example, if your template was created at a 16:9 aspect ratio, you can easily create a 4:3 version of it in the same project. When the template is applied to a Final Cut Pro project, Final Cut Pro applies the aspect ratio that matches the project. For more information, see Adding Multiple Display Aspect Ratios to a Template . Note: An image added to a placeholder is fit based on the template project settings. Because the image in the placeholder is not used when the template is applied to a Final Cut Pro project, stretching or scaling of the media does not affect the Final Cut Pro clip the template is applied to. Using Masks in Templates You can use shapes and masks in any Final Cut template type. In general, use of shapes should be limited to generator templates. Shapes are ideal generator template elements because they can be scaled in Final Cut Pro X without degradation. (However, too many shapes in a template can adversely impact performance in Final Cut Pro.) When you add a shape to a placeholder layer, the shape is converted to a mask. When a template with a masked placeholder is applied to a clip in Final Cut Pro, the mask is applied to the clip. Objects in the template outside the placeholder are not affected. You can publish mask parameters (Roundness, Feather, and Mask Blend Mode, and so on) so they are editable in Final Cut Pro. However, the onscreen mask controls in Motion are not available in Final Cut Pro. To reposition a template mask in Final Cut Pro, publish the mask’s transform parameters (located in the mask’s Properties Inspector). For more information on publishing, see Publishing Parameters in Templates. Chapter 11 Creating Templates for Final Cut Pro X 557 For more information on working with shapes and masks, see Using Shapes, Masks, and Paint Strokes. Template Files and Media Save Location When you save a template, the project and all associated files are saved in your /Users/username/Movies/Motion Templates/ folder, organized by template type. The template types include Compositions (templates created in Motion for use in Motion), Effects, Generators, Titles, and Transitions. When a Final Cut Effect template is saved, it is saved to /Users/username/Movies/Motion Templates/Effects; a Final Cut Transition is saved to /Users/username/Movies/Motion Templates/Transitions, and so on. When you save a template in Motion, you assign a category. For example, when you save a Final Cut Effect, choose an option from the Category pop-up menu in the save dialog, such as Blur, Distortion, or Stylize. After you save a template into a category, that category’s folder appears in the corresponding folder on your computer (Effects, Titles, Generators, and so on). Categories represent the how the effects are organized in the Final Cut Pro X media browsers. For example, in the Final Cut Pro Effects Browser, video effect categories include Basics, Blur, Distortion, Keying, Light, Looks, Stylize, and Tiling. In Motion, a Final Cut Effect template saved to the Blur category is placed in the Finder in the /Users/username/Movies/Motion Templates/Effects/Blur/your template name folder. You are not limited to the preset Final Cut Pro browser categories. You can create a template category by choosing New Category from the Category pop-up menu in the template save dialog. Custom categories also appear in Final Cut Pro browsers. You can further organize templates using Themes. A theme is a metadata tag attached to a template that assists in categorizing different templates as being part of a single family. For example, you may have different template types that are related to the same project, such as a transition, an effect, and a group of titles. By tagging the templates with the same theme, all templates, regardless of their template type, appear in the Final Cut Pro Themes Browser. Themed templates also appear in other effects browsers. For example, a themed Final Cut Title template appears in the Final Cut Pro Themes Browser as well as in the Titles Browser (underneath the nonthemed templates). Assigning a theme to templates is optional. 558 Chapter 11 Creating Templates for Final Cut Pro X In the Finder, templates are stored according to the following folder hierarchy: template type/category/theme. For example, a Final Cut Effect template saved to the Blur category and the News theme is stored in the Finder in the /Users/username/Movies/Motion Templates/Effects/Blur/News/your template name folder. Note: You can also sort by theme in the Motion Project Browser using the Theme pop-up menu. Each template folder contains the following items: • large.png: This file is used for the preview in the Motion Project Browser and as a preview in the Final Cut Pro browser when the project loads in the background. • small.png: This file is used for the thumbnail preview of the template in the Final Cut Pro browser. The current frame when the template is saved in Motion is used for the preview frame. • yourtemplatename.mov: This file is used for the movie preview of the template that plays when the template is selected in the Motion Project Browser. This file is created when you select the “Save Preview Movie” checkbox before saving. • yourtemplatename.moef, -.motn, -.moti, or -.motr: This is the Motion template’s project document. • .moef is the Final Cut Effect template extension. • .motn is the Final Cut Generator template extension. • .moti is the Final Cut Title template extension. • .motr is the Final Cut Transition template extension. • Media folder: This folder contains all media in the project—media used in the placeholder and other clips and images used in the project, including content such as particle cell sources. If you clear the media in the template placeholder before saving the template, that media is not saved in the Media folder. Note: If you select “Include unused media” in the save dialog, media in the Media pane (the storage area for media not used in the project), is included in the Media folder. Sharing Templates with Other Users To share templates and associated media files between users and computers, place the associated template files in the same folder structure on another user’s computer in the /Users/username/Movies/Motion Templates/ folder. Chapter 11 Creating Templates for Final Cut Pro X 559 Adding Multiple Display Aspect Ratios to a Template When creating a template for Final Cut Pro X, you can build alternate versions that have different display aspect ratios—all within a single template. For example, when you create a template with a 16:9 aspect ratio, you can add an alternate version customized for 4:3 displays. When the template is applied to a clip Final Cut Pro, the editing application chooses the version that matches its display aspect ratio. These alternate display versions of a single template are called snapshots. Snapshots eliminate the need to create multiple versions of the same template for multiple display ratios. You should add display aspect ratio snapshots if you expect to apply templates to clips of varying resolutions in Final Cut Pro, or to apply the same title or generator template in multiple Final Cut Pro projects with different resolutions. Note: If you expect a template to be applied to differently sized clips in Final Cut Pro, perform the workflow described in this section before saving the template. Sidebar Pixel Aspect Ratio (PAR) is the ratio of the width of a pixel to its height. For example, NTSC pixels are slightly taller than they are wide. They have a pixel aspect ratio of 10/11 (approximately 0.9091). Display Aspect Ratio (DAR) is a ratio of the final displayed image’s width to its height. For example, an iPad’s display aspect ratio is 1.3333 (also written as 4:3), but broadcast NTSC has a display ratio of 1.3636. To calculate the display aspect ratio of an image from its dimensions and pixel aspect ratio, multiply the pixel aspect ratio by the width and divide by the height. The most common aspect ratios are 4:3 (also referred to as standard, 4x3, or 1.33:1) and 16:9 (widescreen, 16x9, or 1.78:1). Older monitors and televisions are generally 4:3, so the screen is 33 percent wider than it is high. Newer HD monitors and televisions are 78 percent wider than they are high. To reconfigure a project for a different display aspect ratio 1 In the Layers list, select the Project object. 2 In the Project Inspector, click Snapshots. The Display Aspect Ratio Snapshots list appears, showing the project’s current default aspect ratio. 560 Chapter 11 Creating Templates for Final Cut Pro X 3 Click the Add button (+) and choose a different aspect ratio from the shortcut menu. If you chose Custom, the Custom Display Aspect Ratio calculator appears. The new aspect ratio appears in the Display Aspect Ratio Snapshots list and the project adjusts. Note: You cannot add a snapshot that matches an existing Display Aspect Ratio snapshot. 4 To reposition your objects to better fit the new aspect ratio, click Edit Snapshot. A small floating window appears, indicating that you are in aspect ratio-edit mode. 5 Position and scale the layers in your project to fit the new display aspect ratio, then click the Stop Rig Edit Mode button in the floating window. Click the items in the Display Aspect Ratio Snapshots list to view the results in the Canvas. Note: When working with an alternate snapshot, the resolution listed in the Properties pane of the Inspector (when Project is selected in the Layers list) may seem strange. This is because the Display Aspect Ratio is shown, rather than the Pixel Aspect Ratio. 6 Choose File > Save or File > Save As. a In the save dialog, enter a name for your template. b Choose a category from the Category pop-up menu. c If needed, choose a theme from the Theme pop-up menu. d To retain unused media in the project (media or audio in the Media list not used in the project), select “Include unused media.” When the template is applied to the Final Cut Pro Timeline, the template aspect ratio that matches the Final Cut Pro project is used. To create a custom display aspect ratio (DAR) snapshot 1 In the Layers list, select the Project object. 2 In the Project Inspector, click Snapshots. 3 Click the Add button (+) and choose Custom from the shortcut menu. 4 Choose an option from the Pixel Aspect Ratio pop-up menu, such as NTSC D1/DV. The pixel aspect ratio (PAR) appears in the field to the right of the pop-up menu. Chapter 11 Creating Templates for Final Cut Pro X 561 5 Enter the width and height in the fields to the right of the PAR value, such as 720 x 480. The new custom DAR is listed in the Display Aspect Ratio Snapshots list. Tips for Creating Templates To get the best results when creating custom templates, consider the following suggestions: • The first time you save a template that is a work in progress, deselect the Save Preview Movie checkbox in the save dialog. Doing so prevents Motion from creating a movie preview each time you save the draft template. (The preview movie appears in the Motion Project Browser.) When you're ready to save the final version of the template, select the Save Preview Movie checkbox to create the preview movie. • When creating complex templates that involve multiple drop zones, use a Final Cut Generator or Final Cut Title template. • As with any project in Motion, too many effects (such as filters, text objects, and so on) adversely impact performance in Final Cut Pro X. • Create animation using behaviors rather than keyframes. Behaviors are easier to modify when the template is applied in Final Cut Pro. • Avoid publishing parameters animated with behaviors or keyframes. Published parameters allow template customization in Final Cut Pro. • Shapes are nice graphic elements to add to a template project (outside of the placeholder), as they can be scaled without degradation. (Shapes added to a placeholder become masks). However, too many shapes in a template will adversely impact performance in Final Cut Pro. • Ensure that “Create Layers At” in the Project pane of Motion Preferences (click Command-Comma to open Preferences) is set to “Start of project.” • In the Motion Timeline, ensure that all filter and behavior bars extend to the end of the project. • To avoid placeholder duration conflicts, use still images when building templates. Using still images also prevents lengthy render times and preserves hard disk space. • Before saving a template, decide whether you want to save or clear preview media, based on the following considerations: • Media not cleared is saved with the template, creating longer render times and consuming hard disk space. • Media saved with the template is available when the template is reopened in Motion (via the “Open in Motion” command in the Final Cut Pro media browsers), allowing you to pick up where you left off in the previous template-building session. 562 Chapter 11 Creating Templates for Final Cut Pro X • When keying green screen or blue screen footage, using a keying template is not recommended. Footage should be keyed directly in its own project in Final Cut Pro or Motion. This is because the Keyer filter analyzes the footage it is initially applied to. For basic keying, use the Keyer or Luma Keyer in Final Cut Pro. For more advanced keying, build the composite in Motion using the Keyer filter. You can also render a keyed clip with its alpha channel and add the clip to a Final Cut Pro project. For more information, see Keying. • Do not use image sequences when creating templates. • If an object in a template has an applied Link Parameter behavior, do not move the object to another group. Doing so breaks the links. • If you publish parameters for an object and then delete that object, all parameters set to be published are also deleted. • Do not use deprecated filters (older filters that are no longer supported in Motion 5) in a template. Although the filter may render correctly in Motion, it may not render correctly after the template is applied to a Final Cut Pro clip. • Template placeholder layers cannot be duplicated. If a group that contains a placeholder is duplicated, other objects in the group are duplicated, but not the placeholder. Chapter 11 Creating Templates for Final Cut Pro X 563 Although behaviors are ideal for instantly adding complex motion or effects to an object, keyframes provide additional precision and flexibility. Keyframes ensure that a specific event happens at the exact frame you choose. When a movement or effect is timed to match a musical beat or a word in the soundtrack, a keyframe is the best tool for the job. Further, any effect where multiple objects are affected in a coordinated way is usually the result of keyframing. Motion provides two different keyframing methods that allow you to animate using the workflow you are most comfortable with. The first option is to turn on the Record button, which creates a new keyframe whenever you adjust any parameter. The second option is to manually add a keyframe to a parameter. After a parameter contains a keyframe, any further adjustment to that parameter adds a keyframe at the current playhead position, regardless of the Record button state. For more information on keyframing methods, see Keyframing Methods. This chapter covers the following: • Keyframing in Motion (p. 566) • Keyframing Methods (p. 570) • Applying Movement to an Object in the Canvas (p. 573) • Animating Using the Inspector (p. 580) • Animating Filters (p. 586) • Animating Behaviors (p. 588) • Combining Behaviors and Keyframes (p. 589) • Working with Keyframes in the Timeline (p. 590) • Animating in the Keyframe Editor (p. 593) • Filtering the Parameter List (p. 601) • Modifying Keyframes (p. 606) • Modifying Curves (p. 617) • Mini-Curve Editor (p. 627) 565 Keyframes and Curves 12 • Animating on the Fly (p. 629) • Keyframe Thinning (p. 631) Keyframing in Motion Keyframing is the process of assigning a parameter value to an object at a point in time. For example, you might want a clip to be scaled to fill the screen five seconds into your project. When you set more than one keyframe, Motion interpolates the in-between frames, generating a smooth change over time. For example, if you want a title to change from green to blue over time, you can set two keyframes at two points in time. The first keyframe defines the text’s color as green, and the second keyframe sets the color to blue. Motion makes the frames between those points change smoothly from green to blue. Motion lets you keyframe color values, position, rotation, opacity, and almost every other parameter in the application. There are several places in Motion to create and edit keyframes and the values between them, represented by animation curves. For example, you can animate basic properties such as scale, rotation, and screen position by manipulating the object in the Canvas. 566 Chapter 12 Keyframes and Curves You can also use the Inspector and HUD to set and modify values for most options in the application. Any time you adjust a slider or other control, you can lock that change to the current frame, thereby setting a keyframe. From that point on, no matter what else you do, that parameter finds its way to that specific value when playback reaches that frame. Preview area shows state of keyframed object at the current frame. Keyframed Opacity parameter Chapter 12 Keyframes and Curves 567 HUD displays current value of animated Opacity parameter. You can also view and modify keyframes in the Timeline by clicking the Show/Hide Keyframes button (in the top-right corner of the Timeline). Keyframes appear as small red (or white, when selected) diamonds beneath their parent object. Show/Hide Keyframes button Selected keyframe 568 Chapter 12 Keyframes and Curves Additionally, you can open the Keyframe Editor by clicking the Show/Hide Keyframe Editor button (in the bottom-right corner of the Motion window). Using the Keyframe Editor, you can see and manipulate a graph for every animateable parameter in the application. Again, keyframes appear as diamonds, and the lines (or curves) connecting the keyframes indicate the values for the interpolated frames. Selected keyframe For information on filtering the parameter list in the Keyframe Editor to show only the parameters and keyframes you are interested in, see Filtering the Parameter List. Chapter 12 Keyframes and Curves 569 Keyframing Methods Motion provides two ways to animate your project: • Record Button: When the Record button is turned on, any adjustment to any parameter in the Canvas, Inspector, or HUD adds a keyframe. Record button • Initial Keyframe: After a keyframe is added to a parameter, any further adjustment to that parameter in the Canvas, Inspector, or HUD adds a keyframe at the current playhead position, independent of the state of the Record button. Using the Record Button One of the simplest ways to create keyframes is to use the Record button. When Record is enabled, a keyframe is created when a parameter is adjusted or when an object in the Canvas is moved or transformed. Animateable parameters in the Inspector appear red when Record is enabled. Note: When Record is enabled, keyframes are created whether you adjust the object onscreen, in the HUD, or in the Inspector. When Record is enabled, the changes you make to the object are applied as keyframes at the current playhead position. If you move the playhead to a new position and change the shape or position of the object, you create a keyframe. If you are working in the Canvas and don’t show keyframes in the Timeline or open the Keyframe Editor, you won’t see these keyframes at first. In the Inspector, a keyframed parameter appears red, and the Add/Delete Keyframe button is visible. 570 Chapter 12 Keyframes and Curves After you set two or more keyframes in the project, Motion animates changes to the object between the keyframes. To scale an object over time using the Record button 1 Click the Record button (or press A) to turn on keyframe animation recording. You can also choose Mark > Record Animation. 2 Select an object in the Canvas. 3 Move the playhead to a new time position. 4 Resize the object by dragging a scale handle. 5 Click the Record button (or press A again) to turn off keyframe recording. The object is scaled over the interval you set. In this same way, you can keyframe any transformation parameter for your object. You can also Control-click the object to display a shortcut menu with options for modifying the Anchor Point, Distort, Drop Shadow, and Crop parameters. For example, choose Transform from the shortcut menu to activate scale and rotation handles in the Canvas. For more information on object transformations in the Canvas, see Transforming Layers. Using the Initial Keyframe Method After an initial keyframe is added to a parameter, a new keyframe is created at the current playhead position whenever that parameter is adjusted, regardless of the state of the Record button. Keyframed parameters appear red in the Inspector. To scale an object over time in the Canvas using the initial keyframe method 1 In the Canvas, resize the object by dragging a scale handle. 2 To create an initial Scale keyframe, do one of the following: • Press Control-K. Note: Pressing Control-K adds a keyframe to the last modified parameter of the object. For example, if you rotate an object using the rotation handle and then press Control-K, a keyframe is added to the Rotation parameter. This also applies to the other tools in the 2D transform tools pop-up menu. For example, if you adjust a drop shadow in the Canvas using the onscreen controls and then press Control-K, a keyframe is added to the Blur, Distance, and Angle Drop Shadow parameters in the Properties Inspector. Chapter 12 Keyframes and Curves 571 • In the Properties Inspector, click the Scale parameter’s Add/Delete Keyframe button. Add/Delete Keyframe button A keyframe is added at the current playhead position, and the parameter appears red in the Inspector. • In the Properties Inspector, click the Scale parameter’s Animation menu, then choose Add Keyframe. The Animation menu (the downward arrow) and the Add/Delete keyframe button appear when you move the pointer over the end of the parameter row in the Inspector. You can also Control-click a parameter’s name, then choose Add Keyframe from the shortcut menu. 3 Move the playhead to a new time position. 4 Resize the object by dragging a scale handle. A keyframe is added at the current frame. When you play back the project, the object is scaled over the interval you set. 572 Chapter 12 Keyframes and Curves Applying Movement to an Object in the Canvas The easiest way to apply keyframes is to manipulate objects directly in the Canvas while the Record button is active. Using this method, you can animate changes to basic parameters such as Scale, Rotation, Position, Distort, Anchor Point, Drop Shadow, Crop, and Four Corner. Although you can create similar object animations using behaviors, keyframing gives you the added flexibility to set specific parameter values on precise frames. Chapter 12 Keyframes and Curves 573 When the Record button is on and you move the playhead to a new frame, any change you make to an object generates new keyframes. When animating an object’s position, an animation path is created. Note: To view the animation paths of keyframed objects, ensure that Animation Path is selected in the View pop-up menu (in the upper-right corner of the main window, above the Canvas). 574 Chapter 12 Keyframes and Curves If the playhead is positioned on a previously set keyframe, changes you make modify that keyframe rather than the curve, regardless of whether the Record button is on or off. To move an object across the screen 1 Click the Record button (or press A) to turn on keyframe recording. 2 Place the playhead at the starting frame. 3 Place the object in a starting position. 4 Move the playhead forward. 5 Drag the object to the ending position. 6 Click the Record button (or press A) to turn off keyframe recording. Chapter 12 Keyframes and Curves 575 When you play back your project, the object flies from position one to position two over the interval you set. You can see the path the object travels by turning on the Animation Path setting in the View pop-up menu above the Canvas. Manipulating Animation Paths in the Canvas You can modify an animation path by adding keyframes to or deleting keyframes from the path, by dragging keyframes on the path, or by dragging a path segment between two adjacent keyframes. Additionally, you can set the keyframe type to curved or angled, changing the shape of the path. Note: When you drag a keyframe in the Canvas, the frame number corresponding to that keyframe and its X, Y, and Z position values are displayed in the status bar (above the Canvas). To manipulate an object in the Canvas at a frame where no keyframe exists, use the following guidelines: • To reposition the object as well as its bounding keyframes without setting a new keyframe for the object, drag the object’s center onscreen control (or anywhere on the object’s animation path). • To reposition the object and create a new keyframe, drag the object but not its center onscreen control or animation path. • To move the object and its entire animation path together, hold down Command-Option and drag the object’s center onscreen control or any keyframe on the animation path. To add keyframes to an animation path µ Double-click or Option-click the path. A new keyframe point is added. By default, keyframe points are curved Bezier points. 576 Chapter 12 Keyframes and Curves After a keyframe is added to an animation path, you can change its location on the path. To reposition a keyframe µ Click the keyframe on the animation path, then drag it to its new position. You can convert Bezier keyframe points into Linear keyframe points to create an angled path, or you can turn Linear keyframe points into Bezier keyframe points to make the path curved again. To change a keyframe point to be curved or angled Do one of the following: µ To convert a keyframe point to be sharply angled, Control-click the keyframe and choose Linear from the shortcut menu. The handles of the keyframe disappear, leaving a linear keyframe. To quickly convert the keyframe back to a curved Bezier point with handles, Command-drag the keyframe. µ To convert a keyframe point from sharply angled to smoothly curved, Control-click the keyframe and choose Smooth from the shortcut menu. Bezier handles appear on the Smooth keyframe, and the animation path becomes curved. To quickly convert a curved Bezier point back to an angled linear point, Command-click the keyframe. Note: The Very Smooth option is not available for animation paths and remains dimmed in the shortcut menu. Bezier handles are modified in the same manner as with shape or mask Bezier points. For more information on manipulating Bezier splines, see Shape and Mask Drawing Tools. The keyframe points can also be deleted, locked, or disabled. To delete an animation path’s keyframe point Do one of the following: µ Control-click a keyframe and choose Delete Point from the shortcut menu. µ Select the keyframe, then press Delete. The keyframe point is deleted from the path. You can also lock an animation path keyframe. To lock an animation path’s keyframe point µ Control-click a keyframe and choose Lock Point from the shortcut menu. The keyframe is locked and can no longer be edited. To unlock the keyframe, Control-click the locked keyframe and choose Unlock Point from the shortcut menu. You can also disable an animation path keyframe. Chapter 12 Keyframes and Curves 577 To disable an animation path’s keyframe point µ Control-click a keyframe and choose Disable Point from the shortcut menu. The keyframe is disabled and no longer influences the shape of the animation path. To enable the keyframe, Control-click the disabled keyframe, then choose Enable Point from the shortcut menu. You can also move the entire animation path, affecting the entire animation globally. To move the entire animation path Do one of the following: µ Press Command-Option, then drag a keyframe on the animation path. µ Press Command-Option, then drag a portion of the animation path between two keyframes. You can also move selected segments of the animation path by selecting adjacent keyframes. To move a segment of the animation path µ Drag the path segment between the two selected keyframes. Note: You can also Shift-select the keyframes that bound the path segment or segments you want to move, then drag one of the selected keyframes (or the segment between two adjacent keyframes). You can quickly select an adjacent keyframe, adding additional segments to your current selection. To select an adjacent keyframe on the animation path µ Click the path segment immediately to the right or to the left of a selected keyframe. The adjacent keyframe is selected. Drag the path segment between the two selected keyframes to move the segment. Animating with the HUD Parameters that appear in the HUD can be keyframed using the Record button or by setting an initial keyframe. For example, when an object is selected in the Canvas, the HUD gives quick access to the object’s opacity. To make a custom effect such as a temporary dip to black, keyframe the opacity parameter in the HUD. To animate a clip’s opacity 1 Place the playhead where you want to begin the fade. 2 Do one of the following: • Click the Record button (or press A) to turn on keyframe recording, then click the Opacity slider handle in the HUD. 578 Chapter 12 Keyframes and Curves Even if you don’t change the slider’s value, clicking it sets an Opacity keyframe at that point. This way, the object remains at its previous opacity from the beginning of the clip until that keyframe, then begins the interpolation toward the next keyframe. • With the Record button off, click the Opacity slider handle in the HUD, then press Control-K. 3 Move the playhead forward to a new time. 4 Change the Opacity value. 5 Move the playhead forward again. 6 Change the Opacity slider again. 7 If keyframe recording is on, click the Record button (or press A) to turn off keyframe recording. Keyframes at the Beginning and End of the Curve When you begin adding keyframes, you instruct Motion to modify the in-between frames to interpolate the effect. But what values are used for the frames before the first keyframe and after the last one? By default, when you add your first keyframe, that same value is extended forward and backward to the beginning and end of the clip (as if you hadn’t added a keyframe). After you add a second keyframe, the effect begins to change over time. The frames before that first keyframe remain at the value of that first keyframe. Similarly, the frames after the last keyframe hold at that last defined value. You can override this default behavior to create loops and other patterns by using the Before First Keyframe and After Last Keyframe submenus as described in the Extrapolation section later in this chapter. Chapter 12 Keyframes and Curves 579 Animating Using the Inspector Although you can animate many attributes using the HUD, many other parameters are only accessible in the Inspector. Each section of the Inspector contains keyframeable parameters. You can animate the position and shape of a mask, the color and styles of a text object, or the options in the generators. The parameters that are keyframeable depend on which object is selected and which effects are applied to that object. To animate parameters in the Inspector using the Record button 1 In the Canvas, select the object to keyframe. 2 Click the Record button (or press A) to turn on keyframe recording. 3 Place the playhead on the frame where you want the effect to begin. 4 Open the Inspector pane corresponding to the parameter you want to modify (Filters, in this example). Note: When the Record button is turned on, animateable parameter values appear red. When the Record button is off, parameter values that have no keyframes remain a light shade of gray. 5 Set the parameter to the beginning value. 6 Move the playhead to a new position. 7 In the Inspector, change the parameter to a new value. 8 Click the Record button (or press A) again to disable record. The parameter now changes over time. 580 Chapter 12 Keyframes and Curves To animate parameters in the Inspector by setting an initial keyframe (Record button is off) 1 In the Canvas, select the object to keyframe. 2 Place the playhead on the frame where you want the effect to begin. 3 Open the Inspector pane corresponding to the parameter you want to modify. 4 Set the parameter to the beginning value, then do one of the following: • Press Control-K. • In the Properties Inspector, click the parameter’s Animation menu, then choose Add Keyframe. • In the Properties Inspector, Control-click the parameter name, then choose Add Keyframe from the shortcut menu. • In the Properties Inspector, click the parameter’s Add/Delete Keyframe button. A keyframe is added at the current frame, and the parameter appears red in the Inspector. 5 Move the playhead to a new position. 6 In the Inspector, change the parameter to a new value. The parameter now changes over time. Animation Menu The Animation menu in the Inspector provides additional options, such as the ability to add keyframes to parameters, delete or reset keyframe information, navigate among keyframes, open the Keyframe Editor, add Parameter behaviors, add parameters to Rigs, and Publish parameters. Chapter 12 Keyframes and Curves 581 Every keyframeable parameter has an Animation menu, available by Control-clicking a parameter’s name to reveal a shortcut menu, or by moving the pointer to the right side of a parameter row in the Inspector, and clicking the downward arrow that appears. Note: If the Animation menu corresponds to a parameter that cannot be animated, the Enable Animation and Keyframe menu items are dimmed. The Animation menu contains the following options: • Show in Keyframe Editor: Opens the Keyframe Editor and displays the parameter’s keyframes and curves. For more information, see Animating in the Keyframe Editor. • Reset Parameter: Removes keyframes and settings for this parameter. The parameter value is reset to its default value. • Add To Rig: Lets you add a parameter to an existing rig, or to a new rig that you create to control multiple parameters with a single checkbox, slider, or pop-up menu. Rigs are useful when you create templates for Final Cut Pro X. For more information, see Using Rigs and Creating Templates for Final Cut Pro X. • Add Parameter Behavior: Opens a submenu listing all available Parameter behaviors you can use to animate the parameter. For more information, see Applying Parameter Behaviors to a Behavior. 582 Chapter 12 Keyframes and Curves • Publish: Sends the parameter control to Final Cut Pro X when you create and save a template for the editing application. The Publish command also lets you send rig controls (widgets) to Final Cut Pro. For more information on the Publish command, see Publishing Parameter Controls from Motion to Final Cut Pro X. For more information on rigging, see Using Rigs. • Enable/Disable Animation: Activates or deactivates the keyframed value. Choosing Disable Animation hides the keyframes already set, restoring the parameter to its default value. However, the keyframes are not thrown away. (A dash appears in the parameter row to indicate the animation is disabled.) Choosing Enable Animation again returns the parameter to its last keyframed state. • Add Keyframe: Adds a keyframe at the current frame in the project. If the playhead is positioned on a frame where a keyframe has been added, this menu command is dimmed. To add a keyframe without accessing the Animation menu in the Inspector, press Control-K. A keyframe is added to the last modified parameter of the object (regardless of the status of the Record button) at the current frame. • Delete Keyframe: Deletes the keyframe. The Delete Keyframe option is available only if the playhead is positioned on a frame where a keyframe exists. • Previous Keyframe: Moves the playhead to the previous keyframe for this parameter. The Previous Keyframe command is available only if a keyframe exists earlier in the project. • Next Keyframe: Moves the playhead to the next keyframe for this parameter. The Next Keyframe command is available only if a keyframe exists later in the project. Note: You can also choose Mark > Go To > Previous Keyframe (or press Option-K) or Mark > Go To > Next Keyframe (or press Shift-K) to move from keyframe to keyframe. To set keyframes using the Animation menu 1 Change the value of the parameter you want to keyframe. 2 Click the Animation menu, then choose Add Keyframe. A keyframe is added at the frame and the affected parameter appears red in the Inspector, indicating any further edits at other playhead locations will add keyframes. 3 To set another keyframe for the same parameter, move the playhead to the next location, then change the value of the parameter. To delete a keyframe 1 Move the playhead to the frame where the keyframe is currently set. 2 Click the Animation menu for the parameter you want to change, then choose Delete Keyframe. Note: To delete all keyframes for a parameter, choose Reset Parameter from the Animation menu. Chapter 12 Keyframes and Curves 583 To reset all keyframes for a parameter µ Click the Animation menu for the parameter you want to reset, then choose Reset Parameter. All keyframes are removed for that parameter. Keyframe Controls In the Inspector, basic keyframe controls are available on the right side of animateable parameter rows. These controls allow you to determine the status of a parameter at a glance, to add or delete keyframes at the current playhead, and to navigate to next and previous keyframes in the Timeline. Keyframed parameter with keyframe at current frame Parameter not animated Behavior applied to parameter Keyframed parameter Add/Delete Keyframe Buttons Moving the pointer over an animatable parameter reveals the Add/Delete Keyframe button (a plus sign enclosed in a gray diamond). Click the button to place a keyframe for that parameter at the current frame. Keyframe exists at current frame for this parameter. 584 Chapter 12 Keyframes and Curves If a parameter is keyframed at the current frame, as well as before and after the current frame, three controls appear to the right of that parameter in the Inspector. Previous Keyframe Add/Delete Keyframe Next Keyframe Previous Keyframe: A left angle bracket that appears when there is a keyframe in the Timeline to the left of the playhead position. Click this control to move to a previous keyframe in the Timeline. Add/Delete Keyframe: A diamond-shaped button with several states. A gray diamond button indicates that there is no keyframe at the current frame. Click this button to add a keyframe at the playhead position. When you add a keyframe, the diamond turns orange, indicating that there is a keyframe at the frame. Clicking the orange diamond deletes the keyframe. When the playhead advances to a frame that is not keyframed, the diamond turns gray. Next Keyframe: A right angle bracket that appears when there is a keyframe to the right of the playhead position. Click this control to move to the next keyframe in the Timeline. Chapter 12 Keyframes and Curves 585 Reset Button Each parameter set in the Inspector is equipped with a reset button. A parameter set might be a filter, or it might be a category of effects or transformations, such as Transform, Blending, Drop Shadow, or other items in the Properties Inspector. Reset button The reset button removes all keyframes applied to all parameters in the set and restores those parameters to their default state. Animating Filters In addition to making changes to a clip’s basic attributes, keyframing can be used to modify most parameters in the application. When the Record button is activated, any parameter displayed on the HUD becomes keyframeable. For example, as you apply filters to objects, the most important parameters are displayed on the HUD. Using keyframes, you can animate those parameters. In this way, you can create a shot that grows more distorted, blurry, or changes color over time. To animate a filter using the HUD 1 Select an object to modify. 2 Apply a filter to the object. The HUD changes to display the parameters for the filter. For more information on how to apply filters, see Applying and Removing Filters. 3 Click the Record button (or press A) to turn on keyframe recording. 4 Place the playhead where you want the effect to begin changing. 586 Chapter 12 Keyframes and Curves 5 In the HUD, set the parameter slider you want to animate to a beginning value. 6 Move the playhead to the frame where you want the effect to stop changing. 7 Set the slider to a new value. New playhead position 8 Click the Record button (or press A) to turn off keyframe recording. Chapter 12 Keyframes and Curves 587 The filter now changes over time to reflect your settings. This same technique can be applied to any parameter in any filter that appears in the HUD. Filters can be animated in the Inspector. For more information, see Animating Using the Inspector. Animating Behaviors In addition to animating filter parameters, you can also animate behaviors. Animating behaviors might appear complicated at first because most of the behaviors are already changing, but combining these features is a powerful way to greatly enhance behaviors’ usefulness. For example, you might want to animate a Random Motion behavior to begin as a subtle random motion and then become increasingly severe as the effect progresses. Or you might want to apply a Gravity behavior, but not have the object start falling toward the ground until five seconds into the clip. Keyframes allow you to manipulate the parameters of each behavior. Certain parameters cannot be animated, such as the Throw Velocity parameter of the Throw behavior and the Spin Rate parameter of the Spin behavior. If a parameter can be animated, the following occurs: • When keyframe recording is turned on (Record button), the parameter appears red in the Inspector. • Moving the pointer over the parameter row in the Inspector reveals the Add/Delete Keyframe button. Note: In Motion, you can bake all behaviors applied to an object into keyframes using the Convert to Keyframes command in the Object menu. For more information, see Converting Behaviors to Keyframes. To animate a behavior using the Record button 1 Select an object in the Canvas. 2 Apply a behavior. 3 Click the Record button (or press A) to turn on keyframe recording. 4 Place the playhead at the frame where you want the effect to begin changing. 5 Using the HUD, adjust the behavior’s settings. 6 Move the playhead to a new time position. 7 Adjust the behavior settings again. 8 Click the Record button (or press A) to turn off keyframe recording. Behaviors can be animated in the Inspector. For more information, see Animating Using the Inspector. 588 Chapter 12 Keyframes and Curves Combining Behaviors and Keyframes Because it is possible to add keyframes to an object that can already have a behavior (or many behaviors) applied, these two methods might conflict. For example, you might apply a Throw behavior toward the upper left, and at the same time add keyframes that instruct the object to move to the right. Behavior motion path Keyframe animation path The way Motion handles this sort of conflict is to add the instructions together, giving you a combination of the two sets of instructions. In the above example, the behavior-driven object moves toward the upper left, but doesn’t get as far, because keyframes are pushing it in an opposing direction. Combined animation path The larger the Throw velocity rate, the more the behavior overpowers the keyframes, and vice versa. You can use this method to enhance and control the effects of behaviors. For example, you can apply a Gravity behavior that causes an object to fall toward the bottom of the frame, then keyframe the object’s position to move across the screen from left to right. In this way, you create the effect of the object falling as it moves. Chapter 12 Keyframes and Curves 589 Or you can apply a Fade In/Fade Out behavior, but use keyframes on the object’s Opacity parameter to limit the maximum opacity to 80%. The clip fades in and out, and you can continue to modify the behavior’s attributes, but the object never exceeds the opacity value set by the keyframes. One method for handling behaviors and keyframes is to convert behaviors to keyframes. For more information, see Converting Behaviors to Keyframes. Working with Keyframes in the Timeline When keyframing, it is often helpful to view your keyframes in the Timeline. This lets you move keyframes to line them up with other important timing elements in your project such as edit points, sound cues, markers, and even other keyframes. You can also view keyframe parameters, and delete keyframes you don’t need. Keyframe To view keyframes in the Timeline µ Turn on the Show Keyframes button (in the upper-right corner of the Timeline). To identify a keyframe’s value µ Control-click a keyframe in the Timeline and view its value in the shortcut menu. Note: Multiple keyframes on the same frame are listed in the menu. To view a Timeline keyframe in the Keyframe Editor µ Control-click the keyframe in the Timeline, then choose Show in Keyframe Editor from the shortcut menu. The Keyframe Editor opens, showing the corresponding parameters in an “Untitled Set.” 590 Chapter 12 Keyframes and Curves Modifying Keyframes in the Timeline When keyframes are visible in the Timeline, you can change their positions in time by dragging them horizontally in the track. This does not modify the keyframe’s parameter value. Rather, it changes the position in time when the keyframe occurs. Although moving a keyframe in time does not change the parameter’s value, it can have a significant effect on the nature of the animation. For example, if you have two keyframes that animate an object from the top of the screen to the bottom over five seconds, moving one of the keyframes forces the animation to occur more slowly (if you drag them farther apart) or more quickly (if you drag them closer together). When multiple keyframe values are set in the same frame, you can choose any value to edit, although the values are represented by a single keyframe marker in the Timeline. To edit a keyframe value present in the Timeline 1 Control-click (or double-click) the keyframe. A shortcut menu appears. The first items in the list are the keyframe values for keyframes on that frame. 2 Choose the keyframe value to edit. 3 Enter a value into the value field, then press Return. Note: To exit an active value field without making changes, press Esc. To display a keyframe with its associated animation curve µ Control-click the keyframe, then choose Show in Keyframe Editor from the shortcut menu. The Keyframe Editor appears below the Timeline. For information on working in the Keyframe Editor, see Animating in the Keyframe Editor. To delete a keyframe in the Timeline µ Control-click the keyframe to delete, then choose Delete Keyframes from the shortcut menu. Chapter 12 Keyframes and Curves 591 To delete all of an object’s keyframes in the Timeline µ Control-click any keyframe for the object to clear, then choose Delete All Keyframes from the shortcut menu. For more control of effects using keyframes, you can use the Keyframe Editor. Any keyframe in the Timeline can be viewed in the Keyframe Editor using the shortcut menu. Note: Although you can delete keyframes in the Timeline, there is no way to add keyframes in the Timeline. Aligning Keyframes in the Timeline The advantage of manipulating keyframes in the Timeline is the ability to line up a keyframe with other important elements in time. For example, you might want to align a filter keyframe applied to one object with the In or Out point of another object, or a marker, or a keyframe in another track. In this way, you can arrange two objects to fade in or blur into focus at the same frame. It doesn’t matter whether the objects are in the same group. To align a keyframe to a marker in the Timeline 1 Turn on the Show Keyframes button and identify the keyframe to move. 2 Press the Shift key and drag the keyframe in the Timeline until it snaps to the marker. In the following image, the keyframe snaps to the purple marker in the Timeline ruler. Trimming Keyframed Effects When the duration of an effect such as a filter or behavior is changed in the Timeline, the timing of all keyframes applied to that effect are scaled proportionally. This means that keyframed changes to an effect speed up or slow down if the effect is shortened or lengthened. This happens whether you change the duration of the effect object bar, or the duration of the image object bar an effect is applied to. 592 Chapter 12 Keyframes and Curves You can see in the screenshots below that changing the duration of an object has no effect on keyframes applied to its parameters in the Properties Inspector. Object parameters such as Position, Rotation, Scale, Opacity, and so on remain unaffected. Trimming Objects Without Retiming Keyframes If you press Command while resizing an object bar with effects applied in the Timeline, the object is trimmed without altering the timing of its keyframes. This works similarly to trimming a group without modifying durations of the component elements. You can also prevent automatic keyframe retiming by pressing Command while changing the duration of an effect object bar. Animating in the Keyframe Editor When you create two or more keyframes, Motion generates interpolated values for the frames that come between. These are called curves. The Keyframe Editor is where you can view and modify these curves, which is one of the most sophisticated and powerful ways to animate objects and effects in your project. Chapter 12 Keyframes and Curves 593 For example, in the real world, when objects move, they observe rules of physics, such as inertia and momentum. Motion’s Keyframe Editor allows you to simulate these effects in your motion graphics. The curves of animated parameters also provide another way of understanding how an effect changes over time. Curves are laid out in a graph where you can compare them, one over another. The Keyframe Editor makes it easy to add and delete keyframes, as well as move them in two-dimensional space to modify their values (up-down) and their positions in time (left-right). You can also manipulate the curves with the tools Motion provides. Further, you can define a variety of interpolation methods, creating dramatically different types of effects. You can also apply Parameter behaviors to curves in the Keyframe Editor by Control-clicking the curve name and choosing a Parameter behavior from the shortcut menu. For more information about Parameter behaviors, see Applying Parameter Behaviors and Parameter Behaviors. Check Your Selection The parameters available in the Keyframe Editor depend on which objects are selected in other panes. If you select one item in the Layers list, Canvas, or Timeline, only parameters for that object are accessible in the Keyframe Editor. To compare curves from parameters across multiple objects (for example, to make two objects begin fading in at the same time), you must select both items in the Layers list, Canvas, or Timeline. As a result, parameters for both objects are listed in the Keyframe Editor. Additionally, you can modify all curves in a group if the group is selected. In this way, you can view or modify keyframe activity that affects all objects in the group. To display the Keyframe Editor Do one of the following: µ Click the Show Keyframe Editor button in the bottom-right corner of the Motion window. 594 Chapter 12 Keyframes and Curves µ Choose Window > Keyframe Editor. µ Press Command-8. Parts of the Keyframe Editor The Keyframe Editor is made up of a list of parameters on the left and a multifunctional graph on the right. Zoom/scroll control Show Curve Set pop-up menu Keyframe edit tools Control buttons Curve graph Show Curve Set Pop-Up Menu The Show Curve Set pop-up menu lets you filter the parameters in the Keyframe Editor, allowing you to focus on those parameters you want to modify. For more information, see Working with the Show Curve Set Pop-Up Menu. Keyframe Editing Tools Three tools are available to assist in editing keyframes and curves in the Keyframe Editor: Sketch Edit Transform Edit Keyframes tool: Lets you select and edit keyframes similarly to editing Bezier curves. Sketch Keyframes tool: Lets you manually draw curves to generate keyframes conforming to the shape drawn. Transform Keyframes tool: Lets you drag a selection box to enclose and manipulate a group of keyframes simultaneously. For more information about using these tools, see Modifying Keyframes. Chapter 12 Keyframes and Curves 595 Parameter List Any keyframeable parameters of selected objects can be displayed in the list on the left side of the Keyframe Editor. This includes object properties, filters, and behaviors. By selecting multiple items in the Layers list or Timeline, you can compare parameters across multiple objects. The parameter list contains the following items: Activation checkbox: Checkboxes in the left column set which parameters are displayed in the graph. Deselect a checkbox to hide a parameter’s keyframes and curves from the graph on the right. Parameter name: Object and parameter names appear in the second column of the parameter list. Control-click a parameter name to apply a Parameter behavior from the shortcut menu. Value: Parameter values at the playhead position appear in the third column. Modify a parameter value by dragging left or right over the number in this field. Or double-click the field, then enter a value. The value displayed and editing options depend on several factors: • If the playhead is parked on a keyframe, this field shows the value for that keyframe. Adjusting the value alters the keyframe. • If the playhead is not parked on a keyframe, this field shows the value of that parameter at the current frame. If the parameter has keyframes, adjusting the value creates a new keyframe at that frame. For more information on changing the values of keyframes, see Modifying Keyframes. For more information on value sliders, see Value Sliders. Keyframe and Keyframe Navigation buttons: Keyframe controls appear in the fourth column. These controls are identical to those found in the Inspector: the Previous Keyframe button, Add/Delete Keyframe button, and Next Keyframe button. For more information, see Keyframe Controls. 596 Chapter 12 Keyframes and Curves Animation menu: The Animation menu appears in the fifth column. To open this menu, position the pointer over this column, then click the inverted arrow that appears. The Animation menu in the Keyframe Editor contains all commands found in the Inspector’s Animation menu, plus a few additional commands: Animation menu • Enable/Disable Animation: Activates or deactivates the keyframed value. Choosing Disable Animation hides the keyframes you set, restoring the parameter to its default value. However, the keyframes are not thrown away. Choosing Enable Animation returns the parameter to its last keyframed state. • Reset Parameter: Removes keyframes and settings for the parameter, restoring the default value. • Add Keyframe: Adds a keyframe at the current frame in the Keyframe Editor. If the playhead is positioned on a frame where a keyframe has been added, this command is unavailable. Note: You can use a keyboard shortcut (Control-K) to add a keyframe. A keyframe is added to the last modified parameter of the object. • Delete Keyframe: Deletes the current keyframe. This command is available if the playhead is positioned on a frame where a keyframe exists. • Previous Keyframe: Moves the playhead to the previous keyframe for this parameter. This command is available if a keyframe exists earlier in the project. • Next Keyframe: Moves the playhead to the next keyframe for this parameter. This command is available if a keyframe exists later in the project. Chapter 12 Keyframes and Curves 597 • Interpolation: Sets the type of curve for the parameter. See Modifying Curves for examples of the different interpolation methods. Choose Constant, Linear, Bezier, Continuous, Exponential, or Logarithmic. • Before First Keyframe: Defines what happens between the first keyframe and the beginning of the clip. See Extrapolation for examples of extrapolation methods. Choose Constant, Linear, Ping Pong, Repeat, or Progressive. You can also turn the extrapolation into keyframes by choosing Generate Keyframes. • After Last Keyframe: Defines what happens between the last keyframe and the end of the clip. See Extrapolation for examples of extrapolation methods. Choose Constant, Linear, Ping Pong, Repeat, or Progressive. You can also turn the extrapolation into keyframes by choosing Generate Keyframes. • Lock/Unlock Parameter: Locks the parameter from changes. When a parameter is locked, neither keyframes nor curves are adjustable. • Reduce Keyframes: Opens the Reduce Keyframes dialog, which allows you to apply a thinning algorithm to the keyframes for the parameter. This reduces the number of keyframes in a parameter while preserving the shape of the curve. The thinning algorithm can be adjusted in two ways. Increasing the Maximum Error Tolerance results in fewer keyframes. Increasing the Smoothing Factor makes smoother curves between keyframe values. • Set to Curve Snapshot: Reverts keyframe changes made in the selected curve to the most recent snapshot. This command is available when Take/Show Curve Snapshop is turned on (the camera button in the upper-right corner of the Keyframe Editor). For more information, see Curve Snapshots. Keyframe Graph The graph appears on the right side of the Keyframe Editor and displays the curves of selected parameters. The graph has a time ruler at the top and a zoom/scroll control at the bottom and side that are identical to the corresponding controls in the Timeline. The time ruler shows where keyframes, project markers, playback In and Out points, and the playhead are. Using the zoom controls at the bottom of the graph, you can focus on regions of the sequence to edit. For more information on using the zoom/scroll controls, see Zooming in the Timeline. 598 Chapter 12 Keyframes and Curves The body of the graph displays the keyframes and curves of active parameters (those in the parameters list). Each curve is a different color, although some colors are duplicated. Control Buttons In the Keyframe Editor, several buttons provide additional control over the Keyframe Editor window: Choose Background Audio Waveform: A pop-up menu that lets you turn on the display of audio waveforms for the selected item in the background of the graph. This lets you line up an effect to take place at the same time as an event that occurs in the audio. If there are multiple audio tracks in the project, you can use this menu to view the waveform of any individual audio track in the project, or the master track. Display Waveform pop-up menu Clear Curve List: A button that deletes all items in the parameter list from a custom set. Fit Visible Curves in Window: A button that scales the curve graph to show all keyframes of active parameters. There are times when the values of keyframes exceed the vertical resolution of the graph. For example, as you stretch a keyframe, you can drag it so far that you force the window to scroll. Chapter 12 Keyframes and Curves 599 When you click the Fit Visible Curves in Window button (shown below), Motion rescales the graph vertically and horizontally so the curve is entirely visible. When you click the Auto-Scale Vertically to Fit Curves button (shown below), Motion rescales the graph vertically so the curve is entirely visible. When you use either of these buttons, the values of your keyframes are not changed. Take/Show Curve Snapshot: A button that, when clicked, shows the state of all curves in the Keyframe Editor. With a snapshot turned on, the original unaltered curve is represented by a lighter color—visible in the background behind the curves you are adjusting—and can be used as a reference showing the curve's original values. As long as you remain in the Keyframe Editor editing the current set of curves, the snapshot curve remains available. Clicking this button again causes the current snapshot to disappear. For more information about curve snapshots, see Curve Snapshots. Snapping: A button that turns on snapping. Keyframes snap to markers, other keyframes, and other snappable items. Auto-Scale Vertically to Fit Curves button: A button (the magnifying glass in the upper-right corner of the Keyframe Editor) that continuously stretches the graph vertically to show all curves. When Auto-Scale Vertically to Fit Curves is on, the vertical range of the graph increases to accommodate the entire curve even as you change it. For example, if you drag a keyframe up to increase its value, as you drag past the top of the window, the whole graph is rescaled, rather than scrolled. 600 Chapter 12 Keyframes and Curves This can be disconcerting because it might appear that a curve refuses to get bigger even as you drag a keyframe. However, if you watch the values at the left side of the window, you can see that the graph is zoomed vertically to make room for your wider range of values. Viewing the Keyframe Editor on a Second Display You can show the Keyframe Editor on a second display, providing a larger workspace for modifying keyframes and curves. For more information, see Viewing the Canvas or Timing Pane on a Second Display. Filtering the Parameter List Effective use of the Keyframe Editor requires controlling the list of parameters on display in the curve graph. Although you might want quick access to all parameters you animate, displaying too many parameters makes the graph difficult to read. Motion provides the ability to store sets of parameters to facilitate this management. Working with the Show Curve Set Pop-Up Menu The Show Curve Set pop-up menu, located at the top of the parameter list, lets you display 11 built-in parameter curve sets as well as custom sets you build yourself. The menu displays the name of the selected curve set (Animated, All, or Modified, for example). The first option in the Show Curve Set pop-up menu lets you view all parameters associated with a selected object (or multiple selected objects). To view all parameters for all selected objects µ Choose All from the Show Curve Set pop-up menu. By default, only animated parameters display curves in the graph; nonanimated parameters appear as dotted lines. Deselect a parameter’s activation checkbox to hide it in the graph. You can display or hide all parameters associated with a group or object by selecting or deselecting its checkbox. Chapter 12 Keyframes and Curves 601 Dynamic Curve Sets Alternatively, you can use the Show Curve Set pop-up menu to limit the display to dynamic parameters—parameters with keyframes, for example. There are three options in the Show Curve Set pop-up menu that show dynamic parameters: Animated, Modified, and Active. To view only animated (keyframed or behavior-influenced) parameters µ Choose Animated from the Show Curve Set pop-up menu. Parameters with keyframes are displayed. To view parameters changed from their default values µ Choose Modified from the Show Curve Set pop-up menu. This option shows the parameters that have been modified from their default values, or are currently being modified (in the Canvas, Inspector, or HUD). To view only active parameters µ Choose Active from the Show Curve Set pop-up menu. This option shows only parameters being modified in real time. For example, with Active selected, dragging an object in the Canvas displays its X, Y, and Z Position parameters in the Keyframe Editor. Related Curve Sets The next seven options in the Show Curve Set pop-up menu display specific parameters. For example, to check the position of several related objects in a project, you can use the Position curve set. Because you can display multiple related curve sets at the same time, you don’t need to switch between curve set views. Curve sets are available for the following parameters: Position, Rotation, Scale, Shear, Anchor Point, Opacity, and Retiming. To view the keyframes corresponding to a parameter for a selected object µ Choose a parameter type (such as Rotation) from the Show Curve Set pop-up menu. Only parameters of the chosen type are displayed. To view the keyframes corresponding to a parameter for multiple objects 1 In the Layers list, Canvas, or Timeline layers list, Shift-select the objects that contain keyframes you want to view. 2 Choose a parameter type (such as Scale) from the Show Curve Set pop-up menu. Only parameters of the chosen type are displayed for the selected objects. 602 Chapter 12 Keyframes and Curves Custom Parameter Sets In addition to using the built-in curve sets, you can make and manage your own using the last two options in the Show Curve Set pop-up menu: New Curve Set and Manage Curve Sets. As you create and store custom parameter sets, they appear in the Show Curve Set pop-up menu, allowing you to switch between them. Deleting, duplicating, and modifying custom sets is done in the Manage Curve Sets dialog (accessible from the Show Curve Set pop-up menu). To create a curve set 1 Choose New Curve Set from the Show Curve Set pop-up menu. A dialog appears. 2 Enter a name for the set, then click OK. After you create a curve set, you can choose it from the Show Curve Set pop-up menu. There are several ways to modify a custom curve set. To add parameters to a custom curve set Do one of the following: µ After you create a custom curve set, drag a parameter name from any panes in the Inspector into the Keyframe Editor parameter list. µ Click the Animation menu for the parameter, then choose Show in Keyframe Editor. The parameter is added to the custom curve set. Chapter 12 Keyframes and Curves 603 Note: If Animated is chosen from the Show Curve Set pop-up menu when you use the Show in Keyframe Editor command from the Animation menu, an untitled curve set is created. To delete a parameter from a custom set µ Drag the parameter out of the list. To delete all parameters from a custom set µ Click the Clear Curve List button in the top-right corner of the Keyframe Editor. To delete a custom parameter set 1 Choose Manage Curve Sets from the Show Curve Set pop-up menu. The Manage Curve Sets dialog appears. 2 Select the name of the set to delete. 3 Click the Delete button (–) at the top of the dialog. The set is deleted. 4 Click Done to close the dialog. To duplicate a custom parameter set 1 Choose Manage Curve Sets from the Show Curve Set pop-up menu. The Manage Curve Sets dialog appears. 2 Select the name of the set to duplicate. 3 Click the Duplicate button at the top of the dialog. The set is duplicated. 4 Double-click the set name in the list, then enter a name for the set. 604 Chapter 12 Keyframes and Curves 5 Click Done to close the dialog. The new set now appears in the Show Curve Set pop-up menu. These sets are saved with the project, so each time you reopen the project, they are available. You can store as many parameter sets as you like. After you store a set, you can change or delete that set as needed. You can switch back and forth between custom curve sets that contain common animated parameters by using the Manage Curve Sets dialog. For example, if you created a custom curve set for an object’s Position and Rotation parameters, and your project also contains another object with animated Position and Rotation parameters, you can switch back and forth between their curve sets in the Manage Curve Sets dialog. To switch between custom curve sets 1 Choose Manage Curve Sets from the Show Curve Set pop-up menu. 2 Select the Relative checkbox in the left column of the Manage Curve Sets dialog. The curve set is displayed for the currently selected object. Saving Animation Curves Animation curves can be saved in a folder in the Library, such as the Favorites category. Alternatively, you can create a folder in a category. After an animation curve is placed in the Library, it can be added to an object in any project. Animation curves saved in the Library appear with a custom icon. Note: Items saved to the Library appear in the Finder with a .molo extension (“Motion Library object”). These items cannot be opened from the Finder. You can save multiple curves to the Library as one file or multiple files. For example, if you create an animation that uses multiple curves and you want to save the cumulative effect of the animation, you can save all curves as one item in the Library. Although you can save animation curves into the Content category, it is generally recommended that you save items that you use frequently in the Favorites category—some Motion Library categories contain so many items that using the Favorites or Favorites Menu categories can save you search time. In the Favorites category, you can create additional folders to organize custom items. You can also create folders in existing categories, including Favorites, Favorites Menu, or Content. Folders created in the Content category appear in the Library sidebar. Folders created in subcategories, such as Basic Motion, appear in the Library stack and not the sidebar. For more information on creating folders in the Library, see Saving and Sharing Custom Behaviors. Chapter 12 Keyframes and Curves 605 Animation curves saved to the Favorites Menu category can be applied to objects using the Favorites menu. To save an animation curve to the Library 1 Open the Library and select the Favorites or Favorites Menu category. 2 Drag the name of the parameter animation curve to save from the parameter list in the Keyframe Editor into the stack at the bottom of the Library. When you save an animation curve, it’s placed in the /Users/username/Library/Application Support/Motion/Library/Favorites/ or /Favorites Menu/ folder. Note: If you drag an animation curve to another subcategory, such as the Glow (Filters) subcategory, the curve is placed in the Content category, which becomes active. To save multiple animation curves to the Library 1 Open the Library and select the Content, Favorites, or Favorites Menu category. 2 In the parameter list of the Keyframe Editor, select the animation curves you want to save and drag them to the stack, holding the mouse button down. 3 When the drop menu appears, choose “All in one file” or “Multiple files.” “All in one file” saves the animation curves together, listed as one item in the Library. “Multiple files” saves the curves as individual items in the Library. 4 To name the file, do one of the following: • Control-click its icon in the Library stack, choose Rename from the shortcut menu, then enter a descriptive name. • Select the icon, click its name, then enter a descriptive name. Note: When you Control-click an animation curve icon in the Library stack, the Edit Description shortcut menu item becomes available. This is a handy tool that allows you to enter custom notes about an item saved in the Library. After you choose Edit Description, enter your notes in the text field, then click OK. Modifying Keyframes The Keyframe Editor provides an ideal environment for manipulating keyframes because you can simultaneously see their values, placement in time, and how the changes affect the interpolative curves surrounding them. 606 Chapter 12 Keyframes and Curves Using the Edit Keyframes Tool To use the following set of instructions, select the Edit Keyframes tool (above the Keyframe Editor parameter list. To add a keyframe µ Choose Add Keyframe from the Animation menu for any parameter to add a keyframe at the position of the playhead. To add a keyframe to an existing animation curve µ Double-click or Option-click the animation curve. Curves created when keyframes are added are set to the interpolation method used by the rest of that curve. For example, position channels default to using Bezier curves, so new keyframes are added as Bezier keyframes. For more information on interpolation methods, see Modifying Curves. To add a keyframe to an animation curve and adjust its value µ Option-drag a curve segment. A keyframe is added to the segment, and its value is displayed as you drag the keyframe. To change the value of a keyframe Do one of the following: µ In the graph area, drag the keyframe along the Y axis (up and down) to change its parameter value. To change its position in time, drag along the X axis (left to right). Press the Shift key while dragging to constrain movement to one axis. Tip: Keyframes can also be constrained to the Y axis by turning on “Lock keyframes in time in Keyframe Editor” in the Time pane of the Motion Preferences window. Chapter 12 Keyframes and Curves 607 When dragging a keyframe in the graph, numbers appear indicating the position and value of the keyframe. The first number is the frame number (or timecode number) and the second number is the parameter value. Frame number Keyframe value When you drag two keyframes closer along the X axis, the transformation between those values happens more quickly. When you drag keyframes farther apart from each other, the change happens more slowly. µ Double-click the keyframe to modify, enter the value into the value field, then press Return. Current frame Keyframe value This changes the value of the keyframe along the Y axis (up and down). Note: To dismiss an active value field without making changes, press Esc. 608 Chapter 12 Keyframes and Curves µ Drag in the value slider in the parameter list. • Drag to the right to increase the value of the keyframe along the Y axis. • Drag to the left to decrease the value of the keyframe along the Y axis. • Press Shift while dragging to change the value in increments of 10. • Press Option while dragging to change the value in increments of .01. To move a keyframe in time by a specific number of frames 1 Select keyframes. 2 Do one of the following: • To move the selected keyframes to a specific frame: Enter a number, then press Return. • To move the selected keyframes forward by a specific number of frames: Enter a plus sign (+) and the number of frames, then press Return. • To move the selected keyframes back by a specific number of frames: Enter a minus sign (–) and the number of frames, then press Return. To delete a keyframe Do one of the following: µ Select the keyframe, then press Delete. Note: You can drag to select multiple keyframes. µ Control-click the keyframe, then choose Delete from the shortcut menu. µ Navigate to the keyframe, then choose Delete Keyframe from the Animation menu for that parameter. To delete all of a parameter’s keyframes µ Click the Animation menu in the parameter list, then choose Reset Parameter. Note: You can also use the Animation menu in the Inspector. In addition to modifying keyframes, you can add and delete keyframes in the graph. Chapter 12 Keyframes and Curves 609 Reversing, Locking, and Disabling Keyframes You can reverse keyframes to reverse the corresponding animated effect without re-animating it. Further, you can lock keyframes (individually or in groups) if you have a complicated curve and you want to prevent further adjustment. Finally, you can disable an entire curve to suspend animation for that parameter. To reverse keyframes 1 In the graph area Keyframe Editor, drag a bounding box to select the keyframes to reverse. 2 Control-click a selected keyframe, then choose Reverse Keyframes from the shortcut menu. The keyframes are reversed. To lock keyframes µ Select the keyframes to lock, then control-click a keyframe and choose Lock from the shortcut menu. Lock prevents further modification the keyframes. Tip: You can also lock all keyframes in the Keyframe Editor by selecting “Lock keyframes in time in Keyframe Editor” in the Time pane of Motion Preferences. To disable a curve µ Select the keyframes to disable, then Control-click a keyframe and choose Disable from the shortcut menu. Disabled keyframes are ignored and have no effect on the object’s animation. If you disable a keyframe, the curve readjusts itself as if that keyframe didn’t exist, even though the keyframe is present in the Keyframe Editor, in a dimmed state. Copying and Pasting Keyframes and Animation Curves Keyframes and the animation curves they form can be moved from one parameter to another using copy and paste commands. This technique can be useful for copying a keyframe effect from one object to another, for moving a keyframe path earlier or later in the same parameter, or for creating keyframes on one parameter and applying them to another. To copy keyframes, select the keyframes you want to copy, individually or as an entire curve. To select keyframes Do one of the following: µ Using the Edit Keyframes tool, drag a selection box in the graph area around the keyframes to select. µ Shift-click the keyframes you want to select. After you select the keyframes, cut or copy them to move them to the Clipboard. 610 Chapter 12 Keyframes and Curves Note: If the curve appears white (and not the keyframe), the keyframes are not selected. To copy selected keyframes µ Choose Edit > Copy (or press Command-C). To cut selected keyframes µ Choose Edit > Cut (or press Command-X). To paste the keyframes, select the parameter you want to paste to, and the place where you want the pasted keyframes to begin. To paste keyframes 1 Select the destination parameter in the parameter list (on the left side of the Keyframe Editor). 2 Place the playhead at the point where you want the keyframes to begin. 3 Choose Edit > Paste (or press Command-V). Note: Pasted keyframes might not make a curve identical to the original if the parameter scales are different. To copy selected animation curves µ Choose Edit > Copy (or press Command-C). To select an animation curve Do one of the following: µ Select a parameter row in the parameter list of the Keyframe Editor. µ Shift-click or Control-click in the parameter list to select multiple parameters. After you select the parameters, you can cut or copy them to move them to the Clipboard. To cut selected animation curves µ Choose Edit > Cut (or press Command-X). When pasting animation curves, any keyframes in destination parameters are replaced, and the timing of the original keyframes is retained in the new destination. To paste animation curves 1 In the parameter list of the Keyframe Editor, select the destination parameter. 2 Choose Edit > Paste (or press Command-V). Note: Pasted animation curves might not make a curve identical to the original if the parameter scales are different. Chapter 12 Keyframes and Curves 611 Using the Sketch Keyframes Tool The Sketch Keyframes tool (next to the Edit Keyframes tool) allows you to sketch animation curves in the Keyframe Editor graph area, creating keyframes as you go. To sketch a curve, the parameter to animate must first appear in the parameter list. See Custom Parameter Sets for methods of displaying curves. To sketch an animation curve 1 In the parameter list, select the parameter to sketch. 2 Select the Sketch Keyframes tool (above the parameter list). 3 Drag in the graph area to sketch an animation curve. Drawing new keyframes overwrites existing keyframes at the frames where you draw. Parameter and Sketch Keyframes tool selected Curve of new keyframes added to existing animation curve 612 Chapter 12 Keyframes and Curves To add a keyframe using the Sketch Keyframes tool 1 Select the Sketch Keyframes tool (above the parameter list). 2 In the parameter list, select the parameter. 3 Click in the graph area to add a keyframe. Additional clicks create additional individual keyframes. Using the Transform Keyframes Tool The Transform Keyframes tool allows you to drag a selection box around a number of keyframes, then manipulate their positions by adjusting the handles of the selection box. To draw a selection box using the Transform Keyframes tool 1 Select the Transform Keyframes tool (above the parameter list). Keyframed parameters before selection 2 In the graph area, drag to create a box enclosing the keyframes to manipulate. Chapter 12 Keyframes and Curves 613 A selection box with eight handles appears in the graph area. Selection box handle After you draw a selection box, you can manipulate the box and keyframes in several ways. Drag a handle of the selection box to move the keyframes. Important: When transforming keyframes using the Transform Keyframes tool, by default keyframes are adjusted in whole-frame increments. You can adjust keyframe in sub-frame increments if the “Allow sub-frame keyframing” checkbox is turned on in the Time pane of Motion Preferences. Sub-frame adjustments allow greater precision, but use the Next/Previous Keyframe controls (or keyboard shortcuts) to move the playhead to keyframes that are between frames. If you move a sub-frame-adjusted keyframe using the pointer, the frame snaps to the nearest whole frame. Transforming Keyframes Repositioning the handles of the selection box is similar to dragging the handles of a bounding box of an object. The difference in this case is that the transforms done by moving these handles affect the selection box and the enclosed keyframes. Moving the selection box moves the selected keyframes in whatever direction you move. As a result, you can affect where the keyframes are positioned in time or you can affect their parameter values, or both at the same time. Scaling the selection box scales the keyframes in the selection box, changing their timing and parameter values. Experiment with the selection box to see how manipulation affects the enclosed keyframes. To move the selection box µ Drag inside the selection box to move the box and the enclosed keyframes. 614 Chapter 12 Keyframes and Curves Moving left and right repositions the keyframes in time, and moving up and down increases and decreases the parameter values of the keyframes. Note: No matter where you drag the box, only the keyframes selected by the original box are manipulated, even if the repositioned box overlaps keyframes outside of the original selection. To manipulate additional keyframes, redraw the selection box in the graph area. To scale the selection box relative to the handle opposite the one you’re dragging µ Drag any handle to resize the selection box. The selection box changes shape relative to the handle on the opposite side or corner of the box, which remains locked in place. To scale the selection box about its center µ Hold down the Option key and drag a handle of the selection box. Both sides of the box scale up or down around its center as you drag along the axes. To deform the selection box asymmetrically µ Hold down the Command key and drag a corner handle of the selection box. Each corner handle moves independently of the other three corner handles of the selection box. To deselect the selection box Do one of the following: µ In the Keyframe Editor, click once anywhere outside the selection box. µ Choose the Edit Keyframes tool. The selection box disappears. Tip: You can also draw a new selection box outside of the old one to surround a different group of keyframes. Manipulating Animation Curves You can select and move animation curves in the graph area of the Keyframe Editor. To move the entire curve Do one of the following: µ Press Command-Option, then drag a keyframe on the curve. µ Press Command-Option, then drag a curve segment between two keyframes. You can also move selected segments of the curve by selecting adjacent keyframes. Chapter 12 Keyframes and Curves 615 Curve Snapshots When modifying keyframes, it is often helpful to have a frame of reference for your curves. A saved reference of curves lets you compare modified curves to the original curves. Additionally, a saved reference—known as a curve snapshot—acts as a safety net if you need to restore a curve’s original state. To take a curve snapshot µ Click the Take/Show Curve Snapshot button in the upper-right corner of the Keyframe Editor. With Take/Show Curve Snapshot enabled, as you move keyframes in the Keyframe Editor, the original curve—as it appeared when you took the snapshot—retains its color. As long as you remain in the Keyframe Editor editing the current set of curves with the Take/Show Curve Snapshot button enabled, the snapshot curve remains available. New curve (white) Original curve (purple) If, after editing a curve, you want to revert to the snapshot, you can do so from the Animation menu in the Keyframe Editor. To revert a curve to its most recent snapshot µ From the Animation menu in the Keyframe Editor, select Set to Curve Snapshot. The curve reverts to the state of its last snapshot. Important: If you leave the Keyframe Editor, or load a different set of curves into the Keyframe Editor, curve snapshots are taken again, replacing the previous curve snapshots. 616 Chapter 12 Keyframes and Curves Modifying Curves The Keyframe Editor lets you make changes to the curves between keyframes. This might be the Keyframe Editor’s most valuable feature. Although you can manually create nearly any curve shape to create the animation you want, Motion also provides tools to control the automatic interpolation and extrapolation of parameter values. To set the interpolation for a curve, you select the keyframe you want to modify. The method you choose determines the distribution of values through, into, or out of the selected keyframe. By using different preset mathematical algorithms, you can dramatically alter the impact of your effects. To set an interpolation method for a keyframe µ Control-click a keyframe, choose Interpolation from the shortcut menu, then choose a method from the submenu. µ Select multiple keyframes, Control-click one of them, choose Interpolation from the shortcut menu, then choose a method from the submenu. The interpolation method chosen is applied to the entire selection. To set an interpolation method on a curve segment µ Control-click a segment between two keyframes, choose Interpolation from the shortcut menu, then choose a method from the submenu. Only the segment between the surrounding two keyframes is affected by the interpolation method you choose. You can set different interpolation methods for other segments of the same curve. Chapter 12 Keyframes and Curves 617 When different interpolation methods are applied to segments of an animation curve, the methods used in the curve appear with a dash next to their name in the Interpolation submenu (in the Keyframe Editor parameter list). Interpolation methods include the following: • Constant: This method holds the keyframe at its current value when applied to a segment or keyframe and then abruptly changes to the new value at the next keyframe. • Linear: When applied to a keyframe, this method creates a uniform distribution of values through the keyframe from its two adjacent keyframes. When applied to a segment, this method creates uniform distribution of values between points. • Bezier: This method lets you manipulate the keyframe curve manually by dragging the handles. If multiple Bezier keyframes are selected, or Bezier interpolation is applied to the curve segment, the handles of all selected keyframes are modified. 618 Chapter 12 Keyframes and Curves • Continuous: This method behaves like Bezier interpolation, but without access to the handles (which are calculated automatically). The parameter begins to change gradually, reaching its maximum rate of acceleration at the midpoint, then tapers off slightly as it approaches the second keyframe. When applied to a keyframe, the segments before and after the keyframe are affected. When applied to a curve segment, the segment between the keyframes is affected. • Exponential: This method creates an exponential curve between the current keyframe and the next, changing the value slowly at first, then reaching its maximum rate of acceleration as it approaches the next keyframe. • Logarithmic: This method creates a logarithmic curve between the current keyframe and the next, changing the value rapidly at first, then slowing drastically as it approaches the next keyframe. • Ease In: This method has a reverse-inertia effect, so a value change slows coming into a keyframe. When applied to a curve segment, the value change eases into the segment. This option is available only when you Control-click a keyframe; it is not available in the Animation pop-up menu. Chapter 12 Keyframes and Curves 619 • Ease Out: This method creates a typical inertia-like lag, so a value change begins more slowly coming out of a keyframe. When applied to a curve segment, the value change eases out of the segment. This option is available only when you Control-click a keyframe; it is not available in the Animation pop-up menu. • Ease Both: This method combines Ease In with Ease Out, applying both at once. This option is available only when you Control-click a keyframe; it is not available in the Animation pop-up menu. Alternatively, you can apply an interpolation method to the entire parameter. To change the interpolation method for an entire parameter µ Click in the fifth column of the Keyframe Editor parameter list to open the Animation menu, then choose a method from the Interpolation submenu. The selected interpolation method is applied to that parameter’s curve. 620 Chapter 12 Keyframes and Curves To change the interpolation method for multiple parameters 1 In the parameter list of the Keyframe Editor, Shift-click to select multiple parameters. 2 Click in the fifth column of the Keyframe Editor parameter list to open the Animation menu, then choose a method from the Interpolation submenu. The selected interpolation method is applied to all selected curves. Convert to Bezier Bezier interpolation is the most flexible, allowing manual modification of the curve. Motion lets you convert any keyframe into a Bezier keyframe. To convert a keyframe into a Bezier keyframe µ While holding down the Command key, drag the keyframe in the keyframe graph. Bezier handles appear and your mouse movement controls one of the handles. Note: Command-clicking a Bezier point resets it to Linear interpolation. To simultaneously modify the handles for more than one control point, Shift-click to select multiple points, then adjust the tangents. If there are no tangents on the point, drag it while holding down the Command key. To adjust tangents of a control point µ Hold down the Option key and drag a tangent to adjust it independently of the other. µ Hold down the Option key while dragging the handle of a control point with broken handles to lock them together again. µ Control-click a tangent’s handle, then choose Link tangent to constrain one broken tangent to another so both move together. µ Control-click a tangent’s handle, thenchoose Align Tangents to line both tangents up again. Chapter 12 Keyframes and Curves 621 To constrain a handle’s angle to 45-degree increments µ While holding down the Shift key, drag the handle. Extrapolation In addition to setting interpolation for areas between keyframes, you can define how Motion generates the values before the first keyframe and after the last one. This is known as extrapolation. When you set a such a method for a parameter, keyframes are added beyond your original keyframes, which is useful to extend the duration of an effect such as a moving background. Several extrapolation methods are available Before First Keyframe and After First Keyframe submenus in the Animation menu: Constant, Linear, Ping-Pong, Repeat, and Progressive. 622 Chapter 12 Keyframes and Curves To apply an extrapolation method to a parameter before the first keyframe µ Click in the fifth column of the parameter list in the Keyframe Editor to open the Animation menu for the parameter to change, then choose an item from the Before First Keyframe submenu. To apply an extrapolation method to a parameter after the last keyframe µ Click in the fifth column of the parameter list in the Keyframe Editor to open the Animation shortcut menu for the parameter to change, then choose an item from After Last Keyframe submenu. Chapter 12 Keyframes and Curves 623 The following extrapolation options are available in the Before First Keyframe and After Last Keyframe submenus: • Constant: This method, the default, holds the beginning or ending segments of the curve to the same value as the first or last keyframe. • Linear: This method extends the curve beyond the first or last keyframes uniformly, along the existing trajectory of the first or last keyframe. • Ping Pong: This method copies the curve and repeats it, alternating forward and backward. 624 Chapter 12 Keyframes and Curves • Repeat: This method duplicates the curve, applying it again and again. • Progressive: This method extends the curve by repeating the existing shape of the curve, but rather than returning to the exact values, repeats from the existing end value. Chapter 12 Keyframes and Curves 625 Generate Keyframes Command Ordinarily, keyframe extrapolation occurs without creating keyframes. This lets you experiment with various methods. However, you can convert an extrapolation method into keyframes to further manipulate them. This is done using the Generate Keyframes command. You can choose how many extrapolation cycles you want converted into keyframes. Cycles after the number chosen remain in the extrapolated state. Original keyframe graph Repeat extrapolation applied Generate Keyframes applied, set to one cycle 626 Chapter 12 Keyframes and Curves To convert extrapolation data into keyframes 1 In the Keyframe Editor’s Animation menu, choose Generate Keyframes from the Before First Keyframe or After Last Keyframe submenu. The Generate Keyframes dialog appears. 2 Choose the number of cycles to be keyframed. 3 Click OK to confirm your selection. Mini-Curve Editor Similar to the Keyframe Editor, mini-curve editors provide a way to animate parameters outside the Keyframe Editor’s interface using keyframes in a graph. Animations created in a mini-curve editor don’t appear in the Keyframe Editor. Two Particle behaviors—Scale Over Life and Spin Over Life—have mini-curve editors in the Inspector (when the Increment Type parameter is set to Custom). Mini-curve editors are also present for paint objects, in the Stroke pane of the Shape Inspector. By default, the mini-curve editor is collapsed and shows a scaled-down representation of the parameter curve. Collapsed mini-curve editor To expand a mini-curve editor µ Click the disclosure triangle next to the collapsed mini-curve editor. Chapter 12 Keyframes and Curves 627 The expanded mini-curve editor appears. Auto Fit checkbox Edit Keyframes tool Sketch Keyframes tool Transform Keyframes tool Mini-curve editor When expanded, the mini-curve editor shows a representation of the relevant animation curve. In the example above, the Over Life parameter is mapped to the X axis and the Custom Spin parameter is mapped to the Y axis. The procedure for adding keyframes in a mini-curve editor is slightly different than adding them in the full-sized Keyframe Editor. To add keyframes in the mini-curve editor Do one of the following: µ Double-click the curve. µ Option-click the curve. µ Control-click the curve, then choose Add Keyframe from the shortcut menu. To modify a keyframe value in the mini-curve editor 1 Double-click the keyframe in the mini-curve editor. Its value field is activated. 2 Enter a value in the value field, then press Return. Note: To dismiss an active value field without making changes, press Esc. 628 Chapter 12 Keyframes and Curves The mini-curve editor provides the Edit Keyframes, Sketch Keyframes, and Transform Keyframes tools, and each functions in the same manner as in the Keyframe Editor. For more information on using the Edit Keyframes tool, see Using the Edit Keyframes Tool. For more information on using the Sketch Keyframes tool, see Using the Sketch Keyframes Tool. For more information on using the Transform Keyframes tool, see Using the Transform Keyframes Tool. The Auto Fit checkbox sets whether Motion scales the animation curve to fit within the confines of the mini-curve editor. Animating on the Fly Another powerful feature that Motion offers is the ability to create animations while your project is playing back. This is similar to how audio engineers adjust sliders for each audio channel while listening to the mix. The next time the project is played back, all changes are incorporated. Because so many of Motion’s effects are displayed in real time, you can perform a sort of “visual mix” and modify the parameters of your effects while the project is playing back. For example, it is not until you see the elements in your project as a whole that you can know whether each part is behaving as it should. One object might be fading too slowly and making another element hard to see, or a text element can come and go so quickly that it’s impossible to read. With keyframing on the fly, you can make adjustments to any slider or parameter in the program while your project is playing. You can also interactively manipulate objects in the Canvas. Then, if you don’t like what you did, rewind and do it again. Each time you alter a parameter, you replace keyframes previously assigned. To animate a parameter on the fly using the Inspector or the HUD (using the Record button) 1 Click the Record button (or press A) or choose Mark > Record Animation to turn on keyframe recording. 2 Click the Play button or press the Space bar to begin playback. 3 As your project plays, adjust a parameter slider. 4 Disable Record. The changes you made during playback are recorded as keyframes for that parameter. You can view them in the Keyframe Editor. Note: You can also animate on the fly using the initial keyframe method. For more information on the initial keyframe method, see Using the Initial Keyframe Method. If you don’t like the animation you made, you can delete the keyframes and try again. You can choose Edit > Undo (or press Command-Z) to revert to the state before you began recording your animation, or you can manually delete the keyframes to replace. Chapter 12 Keyframes and Curves 629 To delete keyframes Do one of the following: µ Select a keyframe, then press Delete. µ Control-click a keyframe, then choose Delete from the shortcut menu. µ Select a keyframe, then choose Delete from the Animation menu for that parameter. Note: To delete all keyframes for a parameter, choose Reset Parameter from the Animation menu in the Keyframe Editor parameter list or Inspector. Handmade Motion in the Canvas A common use for animating on the fly is to create handmade animation paths. Although you can choose various curve types, it is very difficult to simulate semirandom movement except by sketching with a mouse or pen. To create a handmade animation path in the Canvas 1 Enable Record (press A). 2 Click the Play button to begin playback. 3 Select the object to manipulate and drag it in the pattern of your choice. The position and speed of your movement are recorded and applied to the position keyframes for that object. Keyframes close together indicate slower movement. Keyframes spaced far apart indicate fast movement. You can further manipulate the path by dragging individual keyframes, or re-recording a new animation path for that object. 630 Chapter 12 Keyframes and Curves Keyframe Thinning When a parameter contains at least one keyframe, or when the Record button is on, a keyframe is added every time you modify a parameter at a new playhead position. If you animate while the project is playing, you create a keyframe at every frame. This doesn’t cause a problem until you want to modify the curve. In many cases, the curve created by your animation can be represented using fewer keyframes. Often, this provides a smoother rate of change and lets you take advantage of interpolation methods such as Bezier or Continuous. You can simplify your keyframes in two ways: while you are recording them, or afterwards, by simplifying an existing animation curve using the Reduce Keyframes command in the Animation menu for that parameter. To reduce keyframes in an animation curve 1 Click the Animation menu (the fifth column in the Keyframe Editor parameter list), then choose Reduce Keyframes from the Animation menu. The Reduce Keyframes dialog appears. 2 Adjust the Error Tolerance and Smoothing parameters to obtain the curve you want. Reduce Keyframes option (in Keyframe Editor Animation menu) applied to Position Y Chapter 12 Keyframes and Curves 631 Recording Options The Recording Options dialog allows you to adjust the Keyframe Thinning setting or to disable recording during playback. The Keyframe Thinning setting applies to recording animation while playing back. This setting has no effect on ordinary keyframing. To access Recording Options Do one of the following: µ Choose Mark > Recording Options (or press Option-A). µ Double-click the Record button (under the Canvas). The Recording Options dialog appears. Choose a thinning option, then click OK. The Recording Options dialog contains the following options: Keyframe Thinning: Select one of three keyframe-thinning options: • Off: No thinning is applied. Keyframes are added at every frame where the parameter is changed. 632 Chapter 12 Keyframes and Curves • Reduced: Motion eliminates keyframes that can easily be replaced with a simple curve. • Peaks Only: Only keyframes with dramatic value changes are recorded. Don’t record keyframes during playback: Select this checkbox if you don’t want keyframes to be recorded while the project is playing back. Disabling Animation While Playing If the Record button is on or a parameter contains at least one keyframe, keyframes are added when you make parameter adjustments. To prevent creating accidental animation, you can restrict automatic keyframing so it happens only when the project is not playing. To disable animation recording while playing 1 Choose Mark > Recording Options. The Recording Options dialog appears. 2 Select “Don’t Record keyframes during playback.” 3 Click OK. Chapter 12 Keyframes and Curves 633 Keying is the process of isolating a foreground subject against a background area of uniform color or brightness to generate an alpha channel (a matte) based on the shape of the colored area. Keying is commonly performed on subjects photographed against a blue- or green-colored background, but keys can be based on any color (color keying), or on a specific range of brightness values (luma keying). The keying filters in Motion offer a powerful and comprehensive set of tools for creating expert color and luma keys. Best of all, the Motion keying filters are easy to use. Green screen clip Keyed clip This chapter covers the following: • About Keying (p. 635) • Using the Keyer Filter (p. 636) • Using the Luma Keyer Filter (p. 657) • Keying Refinement Filters (p. 662) About Keying Color keying (also known as chroma keying) is commonly used on television to create the familiar effect of a newsreader or show host backed by a cavalcade of animated graphics. In reality, the well-coiffed telepromtee is standing in front of a big green screen. As part of the broadcast, the green screen is “keyed out" and replaced by the motion graphics necessary for each segment of the program. You can do the same thing in Motion using the Keyer filters. 635 Keying 13 Important: Keying to isolate a foreground subject is not always easy; it takes time and patience to learn how to use the parameters in each filter to achieve the best effect. Most keys are “pulled” using more than one tool. Good compositing artists usually combine masked keyer filters, matte adjustment filters, spill suppression operations, and garbage or holdout masks to isolate a single subject. The Keyer filter in Motion combines many of these operations within a single set of parameters. Two other Motion keying filters—Matte Magic and Spill Suppression—provide standalone access to these finishing operations. For more information on techniques you can use to improve a key, see Applying Multiple Keys to a Single Subject. Keying is accomplished using one of two keyer filters in Motion. The Keyer filter is a general purpose color-keying filter that’s capable of blue screen or green screen keying, or keying any range of color you choose. The Luma Keyer generates mattes based on a sampled range of lightness in the image. Both keyer filters, as well as the Matte Magic and Spill Suppression filters, are located in the Keying category of filters in the Motion Library. (For basic information about Motion filters, see Using Filters.) Using the Keyer Filter The Keyer filter is intended for subjects shot in front of a blue screen or green screen. However, this filter can also be used to pull chroma keys from any range of color within a shot. The keyed portions of the image are rendered transparent, allowing background images to show through. You apply a Keyer filter like any other filter in Motion—via the Library or the Add Filter pop-up menu in the toolbar. For more information about applying filters, see Applying and Removing Filters. Important: When combining masks with a keying filter, make sure the masks you use to crop the keyed image are applied to the same image layer as the keying filter itself. Also, apply masks after you apply a keying filter. Automatic Versus Manual Keying At its default settings, the Keyer filter attempts to work as automatically as possible. When you apply the Keyer filter to an object, Motion analyzes the visible frame in the Canvas to detect a dominant color such as a green or blue background. The dominant color becomes the initial sample that generates the tolerance, or core transparency, of the underlying key; this key is rendered as transparent in your composite. However, you can override the automatic initial color sampling to key any color. You do this by setting the Strength parameter to 0, then using the Sample Color tool to draw a selection box over the region containing the color you want to key. 636 Chapter 13 Keying Keyer After you apply the Keyer filter to a video or image layer in your project, you can modify and refine the keying parameters in the Filters Inspector or HUD. This section explains the operation of the tools and parameter controls found in the Keyer section of the Filters Inspector. Parameters in the Inspector Refine Key: Use the Refine Key tools to manually sample regions of an image to modify the tolerance, or core transparency, of the generated key. You can sample multiple regions in an image or in a single frame of a movie clip. You can also sample regions across multiple frames of a clip or image sequence to compensate for changing conditions, such as shifting lighting that affects the keyed background. When you sample regions in multiple frames, keyframes are added to interpolate the difference from one frame to the next. (Unlike standard keyframes, color-sampling keyframes are hidden in the Motion workspace by default.) The Jump to Sample buttons let you navigate between frames you’ve sampled, to make changes. For more information on keyframing the Keyer filter, see Animating Parameters in the Keyer Filter. There are two Refine Key tools: • Sample Color: Use this tool to select regions of the image to be turned transparent. Click the Sample Color tool, then drag a selection box in the Canvas to define a range of color to key. Chapter 13 Keying 637 After you create a selection box, you can resize it to sample more or fewer shades of color, increasing or decreasing the range of background color used to create transparency. You can also add more selection boxes to expand the range of color that is keyed. You can also add more sample color boxes at other frames of the clip to maintain transparency when lighting conditions change. To add selection boxes, select the Keyer filter in the Layers list, then hold down the Shift key while dragging in the Canvas. Note: Adding a Sample Color selection box to a frame adds to the sampled region that’s defined when you first apply this filter. • Edges: Use this tool to refine the transparency of marginal regions of the keyed subject, such as hair, reflections, smoke, or moving subjects with motion blur. Click the Edges tool, then drag in the Canvas to draw a line that crosses the boundary of the semitransparent region you want to adjust (with one point on the keyed foreground subject and the other point on the transparent background). Next, adjust the slider handle in the middle of this control line, outward to soften the matte, or inward to harden it. If the Keyer filter is selected in the Layers list, you can press the Command key and drag in the Canvas to create Edges sampling controls. 638 Chapter 13 Keying Note: To remove a Sample Color selection box or Edges control, select the box or control, then press Delete. Alternatively, Option-click inside the selection box or control line. Strength: Use this slider to adjust the tolerance (core transparency) of the Keyer filter’s automatic sampling. The default value is 100%. Reducing this value narrows the range of color sampled, resulting in less transparency in the keyed image. Increasing the Strength value expands the range of color sampled, resulting in more transparency in the keyed image. The Strength parameter is useful to retrieve areas of semitransparent detail such as hair, smoke, or reflections. Important: Setting Strength to 0 bypasses the filter’s automatic sampling altogether, allowing you to manually sample a range of color using the Refine Key tools. Jump to Sample: Use these left and right arrow buttons to navigate to frames that have been manually sampled using the Sample Color and Edges tools. When the playhead is at a sampled frame, a numeric counter to the right of these buttons indicates your current position in the range of sampled frames (for example, “3 of 5”). View: Use these buttons to switch between three keying preview modes in the Canvas, useful for refining your key. The View setting affects what is rendered in your final output. For example, setting View to Matte lets you export a grayscale matte image that you can use as a luma channel matte in another application. There are three buttons: Composite Original Matte • Composite: When selected, the leftmost button displays the final composited image in the Canvas, with the keyed foreground object isolated against a transparent background, which lets layers underneath show through. Chapter 13 Keying 639 • Matte: When selected, the middle button displays the grayscale matte, or alpha channel, generated by the keying operation. Viewing the alpha channel directly lets you evaluate the parts of the generated matte. Areas in the matte that appear white are visible in the final composite; areas that appear black are transparent; and areas with shades of gray are semitransparent (lighter grays being more solid, and darker grays being more). Viewing the alpha channel makes it easier to spot unwanted holes in the key, or areas of the key that aren’t transparent enough. • Original: When selected, the rightmost button displays the original, unkeyed image in the Canvas. This view is useful to sample colors from the original image. Fill Holes: Use this slider adjust solidity in regions of marginal transparency throughout a key. This parameter is useful when you’re satisfied with the edges of your keyed matte, but you have unwanted holes in the interior of the foreground subject that you can’t eliminate using the Strength parameter without ruining your edges. Higher slider values fill more holes in the solid areas of the keyed subject. Edge Distance: Use this slider to adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Decreasing this parameter brings the solid, nontransparent area of the matte closer to the edge of the subject being keyed, sacrificing translucence at the edges in favor of filling unwanted holes at the edge of the keyed subject, or retrieving areas of semitransparent detail, such as hair, smoke, or reflections. Increasing this parameter pushes the filled area of the matte further to the interior of the subject, away from the edges, adding translucence to regions of the image that aren’t being keyed aggressively enough. Increasing this parameter too much may introduce regions of unwanted translucence in parts of the subject that should be solid. Spill Level: Use this slider to set how much spill suppression is applied to the keyed subject. Spill suppression is a color correction that neutralizes the green or blue colored light that often bounces off a green screen or blue screen background and tints the edges of a subject during a shoot. Consequently, it becomes more difficult to separate the foreground subject from the background during the keying process. Spill suppression is applied when you add the Keyer filter. Without spill suppression With spill suppression 640 Chapter 13 Keying The color that’s suppressed in the final image is based on the sampled portion of the image. The Spill Level slider controls how much spill suppression is applied to the keyed subject. For example, if the subject was shot in front of a green screen background, increasing the Spill Level value adds magenta to the foreground image, which neutralizes any unwanted green cast that your subject may be exhibiting. Spill suppression can be further customized using the controls in the Spill Suppression group, described later. Setting Spill to 0 turns off spill suppression. Invert: Select this checkbox to Invert the generated matte, so solid areas become transparent, and vice versa. Color Selection: Click the disclosure triangle in the Color Selection row to reveal controls for adjusting the tolerance (core transparency) and softness (edge transparency) in the chroma and luma channels of the keyed region. Which controls are adjustable depends on the Graph mode (Scrub Boxes or Manual) you select in this group of controls. These controls are meant to be used after you begin creating a key using automatic sampling or the Sample Color and Edges tools. (However, you can skip those tools and create a key using the Color Selection controls in Manual mode.) The graphical Chroma and Luma controls in the Color Selection group provide a detailed way of refining the range of hue, saturation, and image lightness that define the keyed matte. Chapter 13 Keying 641 Before you adjust these controls, the graphs in the Chroma and Luma controls represent ranges of color and luma in the image that have been automatically and manually sampled (using the Refine Key tools and the Strength slider). • Graph: Select one of two buttons to set how the adjustable graphs in the Chroma and Luma controls are used to fine-tune a key: • Scrub Boxes: Select this button to limit the Chroma and Luma controls to adjusting softness (edge transparency) in the matte you are creating. In Scrub Boxes mode, you cannot manually adjust tolerance (core transparency), which is determined by the Keyer filter’s automatic sampling, plus any Sample Color selection boxes you’ve added in the Canvas. To increase matte tolerance, add more Sample Color selection boxes or adjust the Strength slider.) • Manual: Select this button to use the Chroma and Luma controls to adjust the softness (edge transparency) and tolerance (core transparency) in the matte you are creating. Make sure the Strength slider is set to a value greater then 0 before you switch into Manual mode, otherwise the Chroma and Luma controls are disabled. When you switch to Manual mode, the Refine Key tools and Strength slider become disabled, but samples you’ve made with those controls continue to contribute to the matte. Important: When you switch to Manual mode, it’s inadvisable to switch back to Scrub Boxes mode. For best results, begin keying an image using the Sample Color and Edges tools in Scrub Boxes mode. Switch to Manual mode afterwards if you feel it’s necessary to refine your matte using the Chroma and Luma controls. However, after you switch to Manual mode, do not switch back to Scrub Boxes mode. If you do, you may experience unexpected combinations of additionally sampled and keyframed values that might be difficult to control. • Chroma: Drag the two graphs in this color wheel control to adjust the isolated range of hue and saturation that help define the keyed matte. The selected mode governs which graphs in the color wheel are adjustable. The outer graph controls the softness (edge transparency) of the matte you’re creating, and can be adjusted in either Scrub Boxes or Manual mode. The inner graph controls tolerance (core transparency), and is only adjustable when in Manual mode. Drag any side of either graph to expand or contract the graph’s border, which adds to or subtracts from the range of hue and saturation contributing to the key. In manual mode, you can also drag inside the tolerance graph to adjust its overall position in the color wheel. To the left of the color wheel, a small graph displays the slope of chroma rolloff, the relative softness of matte edges in regions most affected by the Chroma control. Dragging the Chroma Rolloff slider (described below) modifies the shape of this slope. 642 Chapter 13 Keying It’s possible to zoom into and pan around the Chroma control to more precisely adjust the graphs: • Zooming the Chroma control: To zoom incrementally into the Chroma control, hold down the Z key and click the color wheel. To zoom out, hold down the Option and Z keys and click the color wheel. To smoothly zoom out, hold down the Z key and drag left in the color wheel. To smoothly zoom in, hold down the Z key and drag right in the color wheel. You can also hold down the Space bar and Command key (in that order), and drag left in the color wheel to zoom out or drag right to zoom in. • Panning the Chroma control: To pan in the Chroma control, hold down the H key and drag in the color wheel. You can also hold down the Space bar and drag in the color wheel in the direction you want to move it. To reset the zoom and recenter the Chroma control, move the pointer over the Chroma control and press Shift-Z. • Luma: Drag the adjustable handles in this grayscale gradient to modify the isolated range of the luma channel (the range of lightness and darkness) that also helps define the keyed matte. The upper handles (which only appear in Manual mode) adjust the tolerance (core transparency) of the luma channel's contribution to the key. The lower handles adjust the softness (edge transparency) of the luma channel's contribution to the key. The Graph mode governs which handles are adjustable. In Scrub Boxes mode, you can adjust only the lower softness handles, which modify the range of lightness and darkness affecting the edge transparency the matte. In addition to using the handles, you can drag the slope in the graph to adjust the softness. In Manual mode, you can also adjust the upper tolerance handles, which modify core transparency within the luma channel of the matte. Dragging the slope in the graph adjusts the lower handles (the softness). To adjust all handles simultaneously, drag inside the curve in the graph. By default, the slope of the left and right sides of the Luma graph has a slight “S” curve. You can modify the shape of the curve by adjusting the Luma Rolloff slider (described below). Note: The luma softness handles may extend past the outer boundaries of the Luma control. This is due to the floating-point precision of the Keyer filter, and is an expected behavior. • Chroma Rolloff: Use this slider to adjust the linearity of the chroma rolloff slope (displayed in the small graph to the left of the Chroma control). Chroma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Chroma control. Lowering this value makes the slope of the graph more linear, which softens the edges of the matte. Raising this value makes the slope of the graph steeper, which sharpens the edges of the matte. Chapter 13 Keying 643 • Luma Rolloff: Use this slider to adjust the linearity of the luma rolloff slope (the ends of the bell-shaped luma curve displayed in the Luma control). Luma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Luma control. Lowering this value makes the slope between the upper and lower handles in the Luma control more linear, which increases edge softness in the matte. Raising this value makes the slope steeper, sharpening the edges of the matte and making them more abrupt. • Fix Video: Select this checkbox to apply subpixel smoothing to the chroma components of the image, reducing the jagged edges that result from keying compressed media using 4:2:0, 4:1:1, or 4:2:2 chroma subsampling. Although selected by default, this checkbox can be deselected if subpixel smoothing degrades the quality of your keys. Matte Tools: Click the disclosure triangle in the Matte Tools row to reveal controls for post-processing the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer filter’s basic and advanced controls (the Color Selection parameter group), letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue screen or green screen conditions. 644 Chapter 13 Keying • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. Spill Suppression: Click the disclosure triangle in the Spill Suppression row to reveal controls for neutralizing a colored light that bounces off the blue screen or green screen and contaminates the isolated foreground subject. This fringing around the edge of the subject is called spill, and is difficult to eliminate because it’s part of the subject you’re trying to preserve. The Spill Suppression controls work by letting you adjust the color correction that neutralizes unwanted color in the foreground subject. While the Spill Level slider (described above) controls how much suppression is applied, the controls in this group let you customize the quality of suppression being performed. When first applied, the Keyer filter adds spill suppression to the video clip or image, based on the dominant color sampled to create the initial key. This automatic spill suppression desaturates the key color so fringing around the foreground subject appears gray (rather than blue or green). But if you reduce the Spill Level slider to 0, effectively turning off spill suppression, the gray fringing turns blue or green (the color of your background), proving that successful spill suppression is rendering the background a neutral gray. • Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using Black and White point handles (and corresponding sliders). Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle (on the left side of the gradient control) lightens edge fringing that is too dark for a successful composite. The White point handle (on the right side of the gradient control) darkens edge fringing that is too light. Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. Chapter 13 Keying 645 • Black, White: Click the disclosure triangle in the Spill Contrast row to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (via the Add Keyframe button to the right of each slider). • Tint: Use this slider to restore the natural color of the keyed foreground subject. Because the Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject. Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. • Saturation: Use this slider to alter the range of hues introduced by the Tint slider (when the Tint slider is used at moderate levels). Light Wrap: Click the disclosure triangle in the Light Wrap row to reveal controls for blending color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. In the following image on the right, with Light Wrap applied, environmental lighting from the orange sky background layer appears on the edges of the candle and on the top of the woman’s dress. Without Light Wrap With Light Wrap In Motion, the Light Wrap operation blends light and dark values from the background with the edges of the keyed foreground subject, and can be used to create color mixing effects around the edges of the solid part of a key to better marry the background and foreground layers of your keyed composite. Light Wrap is the last operation in the image-processing pipeline. In other words, the light-wrap effect is added after every other image operation is processed, including filters, lights and shading, and other composited effects. As a result, Light Wrap properly accounts for any other visual effect that might alter the look of the object it is applied to, yielding the most desirable result. 646 Chapter 13 Keying Important: A separate Light Wrap option appears in the Blend Mode pop-up menu of the Properties Inspector for selected layer or group in Motion. The Light Wrap blend mode in the Properties Inspector for a layer is ignored when you add a Keyer filter to that layer and set the Light Wrap Amount parameter to a value greater then 0. (The Light Wrap parameters of the Keyer filter take precedence.) However, if you set the Amount parameter of the Light Wrap group to 0, the Light Wrap blend mode becomes active again. Further, the Light Wrap blend mode in the Properties Inspector for a group overrides the Light Wrap parameters of any Keyer filters in that group. • Amount: Use this slider to control the overall light-wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, then preserves the lighter of the two. Good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. Good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Mix: Use this slider to set the percentage of the original image to be blended with the keyed image. 100% is the fully keyed image, while 0% is the original, unkeyed image. HUD Controls The HUD contains the following controls: Strength, Jump to Sample, View, Fill Holes, Edge Distance, Spill Level, and Invert. Chapter 13 Keying 647 How to Use the Keyer Filter Getting started with the Keyer filter is easy. Here’s an example. To create a key 1 Import a background image into your project. This example uses a high-resolution still image of an orange sky at sunset. 2 Import a foreground image or video clip of a subject positioned in front of a green screen or blue screen. This example uses video footage of an actor standing in front of a green screen. Make sure the foreground (the actor and green screen) layer is above the background layer in the Layers list. 3 Move the playhead to a frame where the green screen is visible in the Canvas, then apply the Keyer filter to the foreground layer. The Keyer filter analyzes the frame and guesses the color you are trying to remove, based on the dominant color in the image (if blue or green). For the best results, apply the filter to the frame with the greatest amount of the color to key. If the automatic guess is incorrect (for example, if you want to key on red), you can set the Strength parameter in the Filters Inspector to 0 to disable automatic color sampling, then use the Sample Color tool to draw a selection box in the Canvas around the color you want to key. (This workflow is covered in the next task.) The background layer shows through as long as the View control in the Filters Inspector is set to Composite. Note: If the clip you add a Keyer filter to is not visible in the Canvas, the initial key is pulled based on the first or last frame in which the subject appears, whichever is closest to the playhead. 648 Chapter 13 Keying 4 If the automatic key is too aggressive (keying out soft details of the keyed subject that you want to preserve), slowly drag the Strength slider left to reduce the tolerance (core transparency) of the matte until you’re satisfied with the amount of edge detail in the key. Doing so allows areas of marginal transparency like hair, smoke, and reflections to show through. In general, it’s better to err on the side of a less aggressive key, using the parameters within the Matte Tools group to fine-tune the soft details you’re trying to preserve. Strength set to 100% Strength set to 35% Tip: If you open the Color Selection controls while adjusting the Strength slider, you can see how the Chroma and Luma parameters are affected. If necessary, you can fine-tune the default color sampling using the Sample Color and Edges tools in the Filters Inspector or HUD. Alternatively, you can override the Keyer filter’s default sampling, then set the key colors manually. The next example describes that method. To override automatic color sampling and set your own key colors 1 Select the applied Keyer filter in the Layers list, then open the Filters Inspector or HUD. 2 Set the Strength slider to 0. Automatic color sampling is disabled, and the green screen background becomes visible in the Canvas. Chapter 13 Keying 649 3 In the Filters Inspector (or HUD), click to select the Sample Color tool. 4 In the Canvas, drag a selection box over an area of the green screen color that you are attempting to key. Most of the green screen should disappear and be replaced by the image in the layer underneath the foreground layer in the Layers list (in this example, the orange sunset sky). You can add as many selection boxes as necessary to sample areas of the green background (for example, highlights or shadows on the green screen) to achieve a better result. 650 Chapter 13 Keying If the edges of the foreground subject are too sharp, use the Edges tool to soften the foreground edges. The Edges tool is also effective for fine-tuning semitransparent features such as smoke, glass reflections, and shadows. 5 In the Filters Inspector or HUD, click to select the Edges tool. 6 In the Canvas, drag a line over the edge of the foreground subject so one end point lies in the interior of the foreground subject and the other end point lies in the background (the orange sky). An Edges control line appears in the Canvas. 7 In the Canvas, drag the center handle of the Edges control line to adjust the edge transparency of the keyed subject. You can also set the View mode to Matte, which helps you see the effect of using the Edges tool. (The Matte mode also helps you review your work when you modify the Fill Holes and Edge Distance parameters.) Tip: If you open the Color Selection controls while dragging the center handle, you can see how the Edges control alters the outer softness graph of the Chroma control and the bottom softness handles of the Luma controls. When manually sampling colors to create a key, it’s not necessary to click the Sample Color and Edges tools in the Inspector or HUD before you drag in the Canvas. Instead, you can use keyboard shortcuts to activate the Sample Color and Edges tools while dragging in the Canvas. To add Sample Color and Edges controls in the Canvas using keyboard shortcuts 1 In the Layers list, select the Keyer filter to adjust. 2 Do one of the following: • To create a Sample Color selection box, hold down the Shift key while dragging over the color you want to key in the Canvas. • To create a Edges sampling control, hold down the Command key while dragging to draw a line that crosses over the edge of the subject you’re keying in the Canvas. • To remove a Sample Color or Edges control, Option-click anywhere in the control you want to delete, or click to select a sample control, then press the Delete key. Chapter 13 Keying 651 For additional control over the transparency matte, use the Color Selection controls and the Matte Tools in the Filters Inspector. These controls provide options for creating a seamless composite without adding more Keyer filters. To refine a key using the Color Selection controls 1 With the Keyer filter selected in the Layers list, set the View mode in the Filters Inspector to Matte. Matte mode lets you see how your adjustments affect the transparency of the image. The keyed image now appears in grayscale: white areas represent solid pixels in the final matte; black areas represent transparent pixels in the final matte, and varying levels of gray represent translucent pixels in the final matte (darker gray is more transparent; lighter gray is more opaque). 2 Click the disclosure triangle in the Color Selection row of the Filters Inspector to reveal additional controls. 3 Choose one of the two Graph modes to select a mode for the adjustments you need: • Scrub Boxes: Remain in Scrub Boxes mode (the default) if you are satisfied with the current key but want to adjust the edge softness of the resulting matte. In Scrub Boxes mode, you can adjust the outer graph of the Chroma control and the lower handles of the Luma control to increase or decrease the translucency of the edges of the matte. • Manual: Click Manual to make substantial alterations to tolerance (core transparency) and edge softness in matte. In Manual mode, you can adjust the inner and outer graphs of the Chroma control, as well as the upper and lower handles of the Luma control to alter all aspects of transparency in the matte. In Manual mode, you cannot alter the Strength parameter or add more Sample Color or Edges controls in the Canvas. After you enter Manual mode, do not return to Scrub Boxes mode. Note: For more information on keyframing the Color Selection controls, see Animating Parameters in the Keyer Filter. 652 Chapter 13 Keying 4 Depending on the mode you selected in the previous step, adjust the controls to alter your matte: • In Scrub Boxes mode, drag any side of the outer graph in the Chroma control to alter the range of hue and saturation contributing to the matte’s edge softness (transparency around the edges of the key). Note: In Scrub Boxes mode, you can also drag the two lower handles of the Luma control to alter the range of lightness and darkness contributing to the matte’s edge softness. • In Manual mode, drag any side of the outer graph in the Chroma control to alter the range of hue and saturation contributing to the matte’s edge softness. Drag any side of the inner graph to alter the range of hue and saturation contributing to the matte’s tolerance (core softness). Drag in the center of the inner graph to rotate the graph to a new position in the color wheel. Note: In Manual mode, you can also drag any of the four Luma control handles. The two upper Luma handles alter the range of lightness and darkness contributing to the matte’s tolerance (core transparency); the two lower handles alter the range of lightness and darkness contributing to matte’s edge softness. Chapter 13 Keying 653 In either mode, expanding the Chroma graph or Luma handle outward increases the regions of transparency in the keyed image. Dragging the side of a Chroma graph or a Luma handle inward diminishes the transparent regions in the keyed image. In the example below, the top image shows the holes in the matte that result from increasing edge softness using the outer graph of the Chroma control. The bottom image shows how reducing edge softness closes these holes. Widening softness Narrowing softness 5 If you haven’t adjusted the Luma control, drag the left or right lower handles to alter the softness of the luma component of the image. Tip: In Manual mode, you can adjust the lower handles by dragging the bar connecting the top and bottom handles. To adjust all handles simultaneously, drag inside the curve in the graph. 6 Adjust the Chroma and Luma Rolloff sliders to subtly alter the falloff between the tolerance and softness of the key. 654 Chapter 13 Keying To refine a key using Matte Tools 1 With the Keyer filter selected in the Layers list, set the View mode in the Filters Inspector to Matte. Matte mode lets you see how adjustments affect the transparency of the image. The keyed image appears in grayscale: white areas represent solid pixels in the final matte; black areas represent transparent pixels in the final matte; and varying levels of gray represent translucent pixels in the final matte (darker gray is more transparent; lighter gray is more opaque). 2 Click the disclosure triangle of the Matte Tools row of the Filters Inspector. The row expands to reveal the Levels control, which adjusts the contrast of the matte. Also revealed are the Shrink/Expand slider, the Soften slider, and the Erode slider. 3 Use the Levels control to modify transparency and contrast in the matte. A general rule for using the Levels control is to drag the center Bias handle left to decrease transparency in the matte or right to increase transparency in the matte. The Black slider on the left and the White slider on the right modify contrast in the shadows and highlights of the matte. The effects of Levels adjustments are best seen when View is set to Matte. In this view, the white area of the matte is the solid part, and the black area of the matte is the transparent part. Gray is translucent, with lighter grays creating progressively more transparency. With this in mind, here are some guidelines: • Dragging the black bias handle right pushes gray areas to black, expanding areas of transparency within the matte. • Dragging the center bias handle left pushes the grays in the matte towards white, widening solid areas of the key as semitransparent areas are made solid. • Dragging the center bias handle right pushes the grays in the matte towards black, widening transparent areas of the key as semitransparent areas are made transparent. • Dragging the white bias handle left pushes the grays in the matte towards white, expanding areas of solidity within the matte 4 Drag the Shrink/Expand slider left to shrink the matte inwards, widening holes in the matte; drag the Shrink/Expand slider right to expand the matte outward, filling in holes in the matte. Original matte Reducing Shrink/Expand Increasing Shrink/Expand Chapter 13 Keying 655 5 Drag the Soften slider right to blur the matte overall, resulting in softer edges throughout the matte. Original matte Softened matte 6 Drag the Erode slider right to soften the matte from the edge inward, while preserving the original matte outlines as a translucent outer boundary. Original matte Eroded matte Animating Parameters in the Keyer Filter If necessary, you can animate the parameters of the Keyer filter to account for changes in the background screen you’re keying. For example, if there’s uneven lighting in the background, and the camera pans along with a moving subject as she walks from a bright part to a darker part of the colored background, you can animate the Keyer filter parameters to account for this change. 656 Chapter 13 Keying There are two ways of doing this. You can use the Refine Key controls (Sample Color and Edges) to sample background colors on multiple frames, or you can set manual keyframes using the Animation pop-up menu and keyframe controls found in the Filters Inspector. • Creating keyframes using the Refine Key controls: When you add a Sample Color box or Edges control to a clip you’re keying, keyframes corresponding to the Chroma and Luma controls (in the Color Selection group) are placed at that frame, whether the Record button is enabled or not. This is the only way of keyframing tolerance while in Scrub Boxes mode, although the softness of the Chroma and Luma controls can be manually keyframed no matter what mode you’re in by using the Animation menu of the Filters Inspector. • Creating keyframes using the Color Selection controls in Manual mode: In Manual mode, you can keyframe all aspects of the Chroma and Luma controls using the keyframe controls or Animation menu. Alternatively, you can use the Record button to keyframe changes to the Chroma and Luma controls. After you add the first keyframe to the Chroma or Luma parameters, additional keyframes are added at each frame where you make modifications. For more information about the Color Selection parameters, see Keyer and How to Use the Keyer Filter. After you’ve added at least one keyframe—by using the Refine Key tools, or by manually keyframing—adjustments to the Chroma and Luma controls on other frames will generate more keyframes, whether the Record button is enabled or not. Tip: To make an adjustment without adding keyframes, use the Jump to Sample buttons (in Scrub Boxes mode only), or the Next/Previous keyframe buttons to the right of the Chroma and Luma controls in the Filters Inspector (in Scrub Boxes or Manual modes) to navigate to a previously keyframed frame. After you switch from Scrub Boxes mode to Manual mode, work in Manual mode from that point onward. Switching from Manual mode back to Scrub boxes mode can create unexpected combinations of additionally sampled and keyframed values that are difficult to control. Note: Chroma and Luma control keyframes do not appear in the Keyframe Editor. They are only visible using the keyframe controls at the right of each parameter in the Filters Inspector. Using the Luma Keyer Filter The Luma Keyer filter pulls a key from an image or clip based on a selected range of image lightness. Although typically used to key out a white background behind a foreground subject, the Luma Keyer filter can also be used to generate creative effects by turning a narrow range of image brightness transparent. The Luma Keyer filter can also isolate rasterized logo and text graphics from a black or white background. Chapter 13 Keying 657 Luma keys are most effective when you’re keying a subject with a range of lightness different from the area you’re turning transparent. For example, if you’re keying a black background, the foreground subject should not have have deep shadows or dark areas that might get keyed with the background. Generally speaking, shadows and highlights in the image usually make this a difficult filter for pulling a perfect key. Luma Keyer The Luma Keyer filter appears to have similar controls to the Keyer filter. However, because the Luma Keyer generates keys based on a simple range of lightness in an image, rather than a range of color and lightness, its controls are simpler. Parameters in the Inspector Luma: Drag the handles of this grayscale gradient to adjust tolerance and softness in the matte. When you first apply the Luma Keyer filter to an image layer in Motion, the Luma control displays two handles: a Tolerance handle in the upper right, and a Softness handle in the lower left. Dragging the top handle to the left reveals a second tolerance handle. Together, these handles define the range of image lightness used to define the core transparency of the resulting matte. The range of lightness turned transparent is indicated by a checkerboard pattern behind the gradient. Two handles under the gradient define the softness, or edge transparency, of the key. (The second softness handle may not be visible until you drag the two tolerance handles left.) Dragging either of the lower softness handles further out and away from the upper tolerance handles results in a key with softer edges. You can also drag the slope in the graph to adjust the softness handles. Invert: Select this checkbox to reverse which area is transparent and which is opaque. 658 Chapter 13 Keying Luma Rolloff: Use this slider to adjust the linearity of the falloff between the Luma control’s tolerance and softness handles. Modifying this parameter changes the softness of the matte around the edges in regions that are affected most by the Luma control. Decreasing the Luma Rolloff value makes the slope between the two handles of the Luma control more linear, which visibly increases edge softness. Increasing this value makes the slope between the handles of the Luma control steeper, sharpening the edges of the matte and making them more abrupt. View: Use these buttons to switch among three keying preview modes in the Canvas, useful for refining your key. • Composite: When selected, the leftmost button displays the final composited image in the Canvas, with the keyed foreground subject isolated against a transparent background, which lets layers underneath show through. • Matte: When selected, the middle button displays the grayscale matte, or alpha channel, generated by the keying operation. Viewing the alpha channel lets you evaluate the parts of the generated matte. Areas in the matte that appear white are visible in the final composite; areas that appear black are transparent; and areas with shades of gray are semitransparent (lighter grays being more solid, and darker grays being more translucent). Viewing the alpha channel makes it easier to spot unwanted holes in the key, or areas of the key that aren’t transparent enough. • Original: When selected, the rightmost button displays the original, unkeyed image in the Canvas. Matte Tools: Click the disclosure triangle in the Matte Tools row to reveal controls for post-processing the transparency matte generated by the previous sets of parameters. These parameters do not alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Luma and Luma Rolloff controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Fill Holes: Use this slider to adjust solidity in regions of marginal transparency throughout a key. This parameter is useful when you’re satisfied with the edges of your keyed matte but have unwanted holes in the interior of the foreground subject that you can’t eliminate using the Strength parameter without ruining edges. Higher slider values fill more holes in the solid areas of the keyed subject. Chapter 13 Keying 659 • Edge Distance: Use this slider to adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter brings the solid, nontransparent area of the matte closer to the edge of the subject being keyed, sacrificing translucence at the edges in favor of filling unwanted holes at the edge of the keyed subject, or retrieving areas of semitransparent detail, such as hair, smoke, or reflections. Raising this parameter pushes the filled area of the matte further to the interior of the subject, away from the edges, adding translucence to regions of the image that aren’t being keyed aggressively enough. Raising this parameter too much can introduce regions of unwanted translucence in parts of the subject that should be solid. • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe and apply Parameter behaviors to the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue screen or green screen conditions. • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider to the right to increase edge transparency from the outer edge of the matte progressively further into the interior of the keyed matte. Light Wrap: Click the disclosure triangle in the Light Wrap row to reveal controls for blending color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. In Motion, the Light Wrap operation blends light and dark values from the background with the edges of the keyed foreground subject, and can be used to create color mixing effects around the edges of the solid part of a key to better marry the background and foreground layers of your keyed composite. 660 Chapter 13 Keying Light Wrap is the last operation in the image-processing pipeline. In other words, the light-wrap effect is added after every other image operation is processed, including filters, lights and shading, and other composited effects. As a result, Light Wrap accounts for any visual effect that might alter the look of the object it is applied to, yielding the most desirable result. Important: A separate Light Wrap option appears in the Blend Mode pop-up menu of the Properties Inspector for a selected layer or group in Motion. The Light Wrap blend mode in the Properties Inspector for a layer is ignored when you add a Keyer filter to that layer and set the Light Wrap Amount parameter to a value greater then 0. (The Light Wrap parameters of the Keyer filter take precedence.) However, if you set the Amount parameter of the Light Wrap group to 0, the Light Wrap blend mode becomes active again. Further, the Light Wrap blend mode in the Properties Inspector for a group overrides the Light Wrap parameters of any Keyer filters in that group. • Amount: Use this slider to control the light-wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method to blend the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, then preserves the lighter of the two. Good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. Good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Acts like the Overlay composite mode, except that colors become muted. Preserve RGB: Select this checkbox to preserve smooth graphics and text. Some images may be rendered as if they have an alpha channel, even though they don’t. A good example is white text on a black background. Rasterized text in most images is antialiased properly, and further modification to the RGB channels by the Luma Keyer can degrade the quality of the edges. Selecting the Preserve RGB checkbox adds transparency to the image without modifying the RGB channels, leaving smoothly aliased text or graphics visually intact. Chapter 13 Keying 661 Mix: Use this slider to set the percentage of the original image to be blended with the keyed image. 100% is the fully keyed image, while 0% is the original, unkeyed image. HUD Controls The HUD contains the following controls: Luma and Luma Rolloff. Keying Refinement Filters The Matte Magic and Spill Suppression filters help you refine composites that use transparency mattes to merge one image with another. The Keyer and Luma Keyer filters have much of this functionality. Matte Magic and Spill Suppression are refinement filters to let you manipulate mattes you create via other means. Matte Magic The Matte Magic filter lets you manipulate the edges of a matte by shrinking, feathering, and eroding them to improve difficult keys. Parameters in the Inspector Shrink: Use this slider to manipulate the contrast of the matte in a way that renders translucent regions of the keyed matte more translucent while shrinking the matte. Feather: Use this slider to blur the keyed matte, softening the edges by a uniform amount. Erode: Drag this slider to the right to gradually increase transparency from the edge of the solid portion of the key inward. Levels: Use this grayscale gradient to alter the contrast of any matte or alpha channel, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid. Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue screen or green screen conditions. Mix: Use this slider to set the percentage of the original image to be blended with the filtered image. 100% is the filtered image, while 0% is the original, unfiltered image. HUD Controls The HUD contains the following controls: Shrink, Feather, and Erode. 662 Chapter 13 Keying Spill Suppression When you key an image that was shot against a blue screen or green screen, some color will have reflected from the screen to illuminate the edges, or even the interior, of the foreground subject. This unwanted coloration of the subject is called spill, and can be difficult to eliminate from the foreground subject you’re trying to preserve. Unlike the spill suppression controls found in the Keyer filter, which automatically neutralize the color being keyed, the Spill Suppressor filter lets you deal with this problem by manually choosing the color to be neutralized. Parameters in the Inspector Color: Use this control to sample the color to suppress in the keyed image. Click the color well and choose a hue from the Colors window, or use the eyedropper to sample a color in the Canvas. Level: Use this slider to adjust the amount of spill removal applied to the keyed image. Tip: Green screen clips typically benefit from a lower spill-level setting than blue screen clips. Good starting points to try are 46% for green and 73% for blue, although you’ll need to customize these values for your composites. Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using Black and White point handles (and corresponding sliders). Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle (on the left side of the control) lightens edge fringing that is too dark. The White point handle (on the right side of the control) darkens edge fringing that is too light. Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. Black, White: Click the disclosure triangle in the Spill Contrast row to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (via the Add Keyframe button to the right of each slider). Tint: Use this slider to restore the natural color of the keyed foreground subject. Because Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject. Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. Saturation: Use this slider to alter the range of hues introduced by the Tint slider (when the Tint slider is used at moderate levels). Tip: The best order in which to use these controls is to adjust Tint before you adjust Saturation. Mix: Use this slider to set the percentage of the original image to be blended with the filtered image. 100% is the filtered image, while 0% is the original, unfiltered image. Chapter 13 Keying 663 HUD Controls The HUD contains the following controls: Color, Level, Tint, and Saturation. 664 Chapter 13 Keying Particle systems allow you to create sophisticated effects involving large numbers of automatically animated objects. You can use the included Particle Emitters library to add a premade particle system to your composition, or you can create your own custom particle effects using nearly any image layer or group in your project. Particle systems in Motion are flexible enough to create many different effects. This chapter covers the following: • About Particle Systems (p. 666) • Anatomy of a Particle System (p. 667) • Using Particle Systems (p. 669) • Creating Graphics and Animations for Particle Systems (p. 686) • The Difference Between Emitter and Particle Cell Parameters (p. 688) • Emitter and Cell Parameters (p. 692) • Animating Objects in Particle Systems (p. 714) • Viewing Animated Emitter Curves in the Keyframe Editor (p. 718) • Using Masks with Particle Systems (p. 719) 665 Working with Particles 14 • Applying Filters to Particle Systems (p. 720) • Particle System Examples (p. 720) • Saving Custom Particle Effects to the Library (p. 729) About Particle Systems Particle systems consist of two basic elements: a cell and an emitter. Think of the cell as the “mold” for the particles generated by the emitter. You can use nearly any layer or group in Motion as a source for a particle cell, including images, shapes, text, movies, and image sequences. Each particle created is essentially a duplicate of the original cell, and is animated according to the parameters for that particle system (a particle cell and emitter) over its lifetime. Object prior to becoming a particle system Particle system The layer you use as a particle system’s cell determines how that particle system looks. Particle systems can contain multiple cells, resulting in the release of several types of particles from a single emitter. You’ll find that many of the most sophisticated particle presets in the Particle Emitters library are constructed in this way. Particle system based on a single cell Particle system based on two cells 666 Chapter 14 Working with Particles Anatomy of a Particle System Every particle system is made up of an emitter and one or more particle cells. Each cell appears as a sublayer underneath the emitter in the Layers list and the Timeline (click the disclosure triangle beside the emitter layer to hide or reveal its sublayers). Emitter Original object (disabled) Cell (with behaviors applied) The emitter and cells have separate sets of parameters that control the particle system’s behavior. If you imagine that a garden hose is a particle system, the nozzle acts as the emitter, while the water represents the flow of particles. Changing the parameters of the emitter changes the shape from which the particles are emitted and their direction, while changing the cell’s parameters affects each particle. By changing a few parameters, it’s possible to create different effects using the same cell. Note: In a particle system, cells and particles are not the same thing. A cell is a layer (in the Layers list) that acts as the “mold” for the particles (the multiple objects generated in the Canvas). The cell itself is a copy of a source object (cell source) that appears dimmed (disabled) in the Layers list, and therefore is by default not visible in the Canvas. As with any effect in Motion, particle system parameters can be keyframed to change a particle effect’s dynamics over time. For example, you can create a path of bubbles that follows an object onscreen by keyframing the emitter’s Position parameter. For more information on keyframing, see Keyframes and Curves. Chapter 14 Working with Particles 667 You can also track an emitter to a moving object in a clip, or apply existing tracking data in your project to an emitter. For more information on using the Motion Tracking behaviors, see Motion Tracking. In addition, you can add behaviors to each cell or to the emitter to create even more varied effects (simulation behaviors can be especially effective). Any behavior that you apply to a cell is in turn applied to each particle it generates. This lets you achieve almost limitless variation. Adding behaviors to cells in addition to the particle system’s own parameters is an easy way to create complex, organic motion that would be impossible to accomplish any other way. You can also apply a behavior to another object in your project (an object that is not part of the particle system), such as Repel, and have the particles weave around that object. For more information about behaviors, see Using Behaviors. Cell Source Each cell in a particle emitter is a copy of a source object known as the cell source. The cell source appears dimmed (disabled) in the Layers list, and therefore does not appear in the Canvas. Almost any object in Motion can be used as a cell source, including shapes, text, images, image sequences, and clips. Transformations that you apply to the source are respected in the cell layer, which in turn propagates those transformations to the particles generated in the Canvas. For example, if you use a rectangle shape that is sheared and rotated as the cell source, particles created using that rectangle as the cell source are sheared and rotated. If the layer used as the cell source for the particle system has applied filters, the effects of the filters are retained in the particles. Note: Using a movie with applied filters as a particle cell source adversely impacts your computer’s processing performance. For better performance, export your sequence with the filter applied, then import it back into Motion and use the movie as the cell source. 668 Chapter 14 Working with Particles Using Particle Systems Despite their sophistication, particle systems are easy to set up and simple to use. This section describes how to use premade particle systems from the Particle Emitters category of the Library. Afterward, this section explains how to create a simple particle system of your own. Particle Systems and Layer Sizes Particle systems often create particles that grow or move off the Canvas before they die. This can make the size of a layer or group much larger than the dimensions of the Canvas. Although the particles are not visible after they move off the Canvas (unless Show Full View Area is turned on in the View menu), they are still present in the project and are processed. If you apply a filter to a layer containing growing particles, or use that layer as a source object, select the Fixed Resolution checkbox in the Group Inspector (available only when a group is the selected object). The Fixed Resolution parameter allows you to set the specific width and height of a group, cropping anything beyond those values. For more information, see Fixing the Size of a Group. Chapter 14 Working with Particles 669 Using the Particle Library The easiest way to add a particle system to your project is to use a preset in the Particle Emitters category of the Library. There are many types of particle effects to choose from. If you find one close to what you need, you can easily customize its parameters after you add it to your project. Particle systems are added to a project exactly like any other object. To add a particle system from the Library 1 In the Library, click the Particle Emitters category. 2 Click a particle subcategory, such as Nature, Pyro, SciFi, and so on. 3 Select a particle preset in the Library stack. An animated preview of the selected particle emitter plays in the preview area. Note: If the preview does not start playing, click the Play button in the preview area. To automatically play items selected in the File Browser or Library, choose Motion > Preferences (or press Command-Comma), then select “Play items automatically on a single click” in the File Browser & Library section of the General pane. 670 Chapter 14 Working with Particles 4 When you find a particle preset you want to use, do one of the following: • Click Apply to add the selected particle system to your project at the center of the Canvas. Note: If Create Layers At is set to “Start of project” in the Project pane of Motion Preferences, the particle system is added at the first frame. • Drag the particle system from the Library stack into the Canvas to the position where you want it to appear. • Drag the particle system from the Library stack into a group in the Layers list or Timeline. The particle system appears at the center of the Canvas. • Drag the particle system from the Library stack to the track area of the Timeline. When you reach the frame where you want the new particles to start, release the mouse button. The new particle system layer appears in your project, composited against any other layers you’ve already added. Motion Blur and Particles To achieve the optimal look for the following particle emitters, enable motion blur in your project: • Jelly Bands • Light Transit 1 • Light Transit 2 • Light Transit 3 • Light Transit 4 • Rain Streaks • Silly String 1 • Silly String 2 Note: To enable motion blur, choose Motion Blur from the Render pop-up menu (in the status bar above the Canvas), or choose View > Render Options > Motion Blur (or press Option-M). When you add a particle system from the Library, the system acts as it did in the preview area. If necessary, you can edit a particle system’s Emitter parameters in the HUD to tailor them to your own use. Note: You can only modify a particle system after it is added to a project. Chapter 14 Working with Particles 671 The HUD displays a selected particle system’s most essential parameters, including the size and number of particles created, how long they remain onscreen, how fast they move, and the direction and area in which they travel. Select an individual cell in the Layers list or Timeline to edit its parameters in the HUD. For more detailed information on using the particle HUD, see Customizing a Particle System Emitter. For more comprehensive information on customizing all of a particle system’s parameters, see Emitter and Cell Parameters. Creating a Simple Custom Particle System Although Motion provides a wide variety of particle system presets, many times you’ll want to create something completely new. Creating a particle system begins with selecting a layer in your project to use as the source for a cell in a new particle emitter. You can use any layer in your project as a source for a cell in an emitter, including still graphics, animation or video clips, or shapes created in Motion. The layer you select when you create an emitter becomes the first cell in that particle system. In the Layers list, cells appear as a sublayer under the emitter layer. The cell specifies the look of the actual particles generated in the Canvas. Note: You can also use a group as the source for an emitter cell, but your computer’s processing performance may slow drastically. To create an emitter 1 Create a layer to serve as the cell source for the particles that your emitter will generate. This example uses an image of a simple white circular gradient, such as the “basic blur” image located in the Library (in the Particle Images subcategory of the Content category). 2 Move the object in the Canvas to the location where you want the center of your particle system to be. 672 Chapter 14 Working with Particles 3 Select the object, then do one of the following: • In the toolbar, click the Make Particles button. Create a particle emitter. • Press E. After you add an emitter to the project, the following occurs: • An emitter appears in the Layers list and is selected. • A cell containing the image to be “particle-ized” appears underneath the emitter. • The original source layer (the cell source) is disabled. Note: Changes made to the original source layer, such as opacity or shearing, are also applied to the particles even after the emitter is created. • In the Canvas, the emitter bounding box appears. • The first particle appears in the Canvas in the same location as the original layer. Although it appears as if the particle is selected, the bounding box represents the entire emitter. • The Emitter HUD appears. If you have hidden the HUD, press F7. Note: For projects with a frame rate greater than 30 frames per second (fps), at times only the bounding box (not the first particle) might appear at the first frame of your project. Because Motion generates particles at a default rate of 30 per second, there is no guarantee that a particle will appear on every frame. Chapter 14 Working with Particles 673 By default, the first frame of a new particle system (with a single cell) has one particle. If you play your project (press Space bar), additional particles are generated and emerge from the center of the emitter. By default, new cells emit one particle per frame in all directions (for 30-fps projects), and each particle moves 100 pixels per second away from the emitter over a lifetime of 5 seconds (150 frames in a 30-fps project). Note: The Initial Number parameter in the Particle Cell Inspector allows you to change the default behavior so a particle system begins with a burst of particles at the first frame. For more information, see Emitter and Cell Parameters. 674 Chapter 14 Working with Particles The Predictability of Particle Systems When you create a particle system or modify a parameter of an existing particle system, the path of each particle is immediately calculated and predetermined. Although the number and motion of particles might seem random, they are completely predictable based on that system’s parameters. Playing the same particle system twice with the same parameters results in exactly the same particle motion. If you want to choose a new predetermined set of random values, you can change the Random Seed setting repeatedly until you obtain a result you like. Using Multiple Cells in a Single Emitter When you create a particle system from scratch, you don’t have to restrict yourself to using just one cell. You can create a particle system that emits many kinds of overlapping particles by placing multiple cells inside of a single emitter in the Layers list. You can add as many cells as you want in a single emitter. Each cell has its own particle cell parameters that govern how particles from that cell are created. When selected in the Layers list, each cell displays its own Particle Cell Inspector. Particle systems with multiple cells generate particles from each cell simultaneously, according to each cell’s parameters. For an example of using multiple cells in a single emitter, see Example 2: Creating Animated Pixie Dust. Additional cells can be created by selecting multiple layers when initially creating the emitter, or by dragging additional source layers onto the emitter in the Layers list. Note: When multiple sources are used to create a particle system, the resulting emitter is positioned at the average of the sources’ positions. Customizing a Particle System Emitter When you create an emitter, the particle system starts working according to the default parameters in its Emitter and Particle Cell Inspectors. You can use the Emitter HUD to easily change the most important of these parameters to suit your needs. To display the HUD for a particle emitter µ Select the emitter. The HUD appears when you select the emitter. If the HUD does not appear, press F7. Using the HUD to Create a Simple Smoke Effect In this example, use the Emitter HUD to create a smoke effect. Use the emitter created in Creating a Simple Custom Particle System. Chapter 14 Working with Particles 675 Before making adjustments to the selected particle system, it can be helpful to drag the playhead forward in the Timeline to a frame where you can see the particle system in full effect. That way, any adjustments you make are readily apparent. In this example , the size of each particle is so big, it’s hard to make out any texture in the particle system. To modify the particles’ appearance using the Emitter HUD 1 In the Emitter HUD, drag the Scale slider to the left to reduce every particle’s size so the individual particles are more identifiable. 2 In the Emitter HUD, click anywhere along the outer ring of the emission control (the circle with blue arrows) and drag rightward to define a narrow segment that limits the range of the angle at which particles are created (the emission range). 676 Chapter 14 Working with Particles As you drag, both points defining the emission range rotate around the center of the emission control symmetrically. When the emission range forms the rightward angle shown below, release the mouse button. (As you adjust the emission range, the particles rearrange themselves in the Canvas, enabling you to see the resulting effect.) 3 To make the particles drift upward, drag in the middle of the Emission Range segment, rotating the blue arrow counterclockwise until it points up and slightly to the right of the center control; continue dragging outward to lengthen the arrow. The emission angle of the particles updates in the Canvas to reflect the new setting in the HUD. Remember: Although the angle of the arrow controls the emission angle of the particles, the length of the arrow controls the speed of the particles. The longer the arrow, the faster the particles, and vice versa. At this point, the particles are all moving in the correct direction, but there aren’t very many of them (there isn’t much of a fire yet). Chapter 14 Working with Particles 677 4 In the Emitter HUD, drag the Birth Rate slider to the right to increase the number of particles created by the emitter. As you increase the birth rate, more particles are created, forming a nearly unified column of “smoke.” The particles move farther apart as they drift away from the emitter. As you can see, a single object can be used to create a credible column of smoke rising gently into the sky. Although the HUD controls are quite powerful, the Emitter and Particle Cell panes in the Inspector have many more parameters you can customize. For more information, see Emitter and Cell Parameters. Emitter HUD Parameters The HUD contains the most frequently used emitter controls necessary to modify a particle system’s size and shape. These parameters are a subset of those found in the Emitter Inspector. In 2D projects, the Emitter HUD contains a group of sliders and the emission control, which provides a visual way to manipulate three particle system parameters: Emission Range, Emission Angle, and Speed. Emission range Emission angle (angle of arrow) and speed (length of arrows) 678 Chapter 14 Working with Particles When 3D is enabled in the Emitter Inspector, the Emitter HUD offers additional 3D controls. In 3D, the emission control modifies the Emission Latitude and Emission Longitude parameters. Emission control (pointed and spread upward) When an emitter and the 3D Transform tool (in the toolbar) are selected, the 3D Emitter HUD expands to display additional controls that allow you to transform the emitter in X, Y, and Z space, regardless of whether the group containing the emitter is 2D or 3D. For more information on using the 3D transform controls in the HUD, see 3D Transform Tools. Chapter 14 Working with Particles 679 For particle systems containing multiple cells, the Emitter HUD parameters simultaneously modify the effect of each cell’s parameters relative to one another. This means that for a particle system consisting of two cells with different scale values, changing the scale in the HUD resizes both cells simultaneously. For example, increasing the scale in the HUD by 200% does not change the scale of both cells to 200%, but resizes the cells relative to their original scale values. Original particle system Particle system scaled to 200 percent For this reason, in emitters with multiple cells, the HUD parameters are displayed as percentages. When you modify the parameters of a single cell, the cell parameters are adjusted directly. Birth Rate: A slider that defines how many particles are created every second. Life: A slider that defines how long each particle remains onscreen (in seconds) before disappearing from existence. Scale: A slider that defines the size of each particle, relative to the original size of the cell. Emission Range: A slider that defines the angle at which particles are emitted. Emission Control: A graphical control that lets you modify several parameters simultaneously, described below: • Emission Range (2D only): Drag the two points on the outer ring of the graphical emission control to define the range of degrees at which particles are generated. In other words, the Emission Range parameter defines the size of the “slice” of the pie graph that the particles fill when generated. This graphical control adjusts the same parameter as the Emission Range slider. • Emission Angle (2D only): Drag the blue arrows clockwise or counterclockwise to change the direction in which particles are emitted (within the angle defined by the Emission Range control). • Emission Speed (2D only): Drag the blue arrows outward or inward to define how quickly particles move away from the emitter. 680 Chapter 14 Working with Particles Use the following modifier keys to more precisely manipulate the graphical emission control in the HUD: • Shift (while adjusting Emission Angle): Restricts angles to 45 degree increments. • Shift (while adjusting Emission Range): When working with a 2D emitter, restricts to 22.5-degree increments. • Command: When working with a 2D emitter, adjusts Emission Angle only. • Option: When working with a 2D emitter, adjusts Emission Speed only. Emission Latitude/Emission Longitude Control (3D only): When using a 3D particle emitter (when the 3D checkbox is selected in the Emitter Inspector), the emission control of the HUD lets you modify the Emission Latitude and Emission Longitude parameters. Drag the sphere in the center of the circle to modify the emission direction (in degrees latitude and longitude) of the particles. You can also enter specific values in the Emitter Inspector. Chapter 14 Working with Particles 681 Drag the Emission Range slider (above the sphere) to define the range of degrees at which particles are generated. In other words, this control defines the size of the cone that the particles fill when generated in 3D space. Particle Emitters and the Properties Inspector Emitter parameters can also be modified in the Properties Inspector. The following sections briefly discuss using some of the parameters in the Properties Inspector with a particle system (not all parameters in the Properties Inspector are discussed). For more information on the Properties Inspector parameters, see Parameters in the Properties Inspector. Note: When a particle cell is selected, only the Timing parameter appears in the Properties Inspector. This allows you to control the In and Out points of the particle cell. Important: Some operations that can be performed in the Properties Inspector, as well as the application of certain filters or a mask, cause a group to be rasterized. Rasterization can affect the way that layers in Motion (including particle systems) behave. For more information, see About Rasterization. 682 Chapter 14 Working with Particles Transform Parameters As a particle system plays, the cells in the system are duplicated, according to the parameters for that system, to create each particle in the Canvas. Because all particles emerge relative to the position of the emitter, changing the emitter’s position in the Canvas also changes the position of every particle in that system. Origin of particle system after emitter has been repositioned Origin of particle system This rule of thumb has one exception: For an emitter whose position is animated using a behavior or keyframes, particles move relative to their position at the time of their release, regardless of changes to the emitter’s position in subsequent frames. In the example shown below, an animated emitter moves across the screen leaving a trail of particles that maintain their original trajectory, regardless of the changing emitter position. The Attach to Emitter parameter in the Particle Cell Inspector modifies this behavior. When set to 0%, the particles are completely independent of the emitter. When set to 100%, the particles try to keep up with the position of the animated emitter. Depending on any applied behaviors, such as Drag, the particles might not be able to keep up with the emitter. Chapter 14 Working with Particles 683 Modifying an emitter’s other transformation parameters (Rotation, Scale, Shear, and Anchor Point) changes the distribution of particles from that emitter and transforms each particle. For example, if you create an emitter, then modify its Shear parameter, the distribution of the emitted particles changes to reflect the new plane of the emitter, and the particles are sheared along the same plane. After Shear parameter is adjusted Analog Modulator particle system preset Blending Any changes you make to the opacity or blend mode parameters for an emitter are applied to the particle system as a whole. For more information about blend modes, see Using Blend Modes. For more information about the Preserve Opacity setting, see Preserve Opacity Option. Note: In the emitter, the particles can be blended additively or normally (using the Additive Blend checkbox in the Particle Cell Inspector). Lighting A 2D or 3D emitter can interact with lights in a 3D project. The Shading pop-up menu (in the Lighting section of the emitter’s Properties Inspector) must be set to On or Inherited for the lights to affect the particles. For more information on using lights, see Lighting. Shadows A 2D or 3D emitter can cast and receive shadows in a 3D project. If the 3D checkbox is selected in the Emitter Inspector, the Render Particles pop-up menu (underneath the 3D checkbox) must be set to In Global 3D (Better) for particles to cast shadows. For more information on using shadows, see Shadows. Reflections A 2D or 3D emitter can cast reflections in a 3D project, but only a 2D emitter can receive reflections. For more information on using reflections, see Reflections. Note: When the 3D checkbox in the Emitter Inspector is selected, the Reflection controls do not appear in the Properties Inspector. 684 Chapter 14 Working with Particles Drop Shadow Drop shadows can be applied to a 2D particle system, to the emitter as a whole, or to the individual particles in the system. To apply a drop shadow to the emitter as a whole, select the emitter, then select the Drop Shadow activation checkbox in the Properties Inspector. Note: The Drop Shadow parameter is not available in the Properties Inspector for the emitter when the Box or Sphere emitter shape, or the 3D checkbox, is selected in the Emitter Inspector. To apply drop shadows to individual particles in the system, select the (dimmed) source object in the Layers list, then select the Drop Shadow activation checkbox in the Properties Inspector. For more information on working with drop shadows, see Drop Shadows. Timing When you create a particle system, its duration can be as long or short as necessary, regardless of the duration of the original source objects used to create the particle system. The duration of a particle system is defined by the duration of the emitter object. Changing the In or Out point of an emitter in the Properties Inspector, Timeline, or mini-Timeline changes the duration of the entire particle system. By default, particles are generated by every cell in a system for the duration of the emitter. The duration of each generated particle is defined by the Life parameter of the cell that generated it, and not by the duration of the cell itself. The duration of the cell controls the duration over which new particles are generated. You can change a cell’s duration by dragging its position or its In and Out points in the Timeline. In this way, you can adjust the timing that defines when each cell’s particles emerge. Chapter 14 Working with Particles 685 For example, you can create a particle system that simulates an explosion by offsetting the appearance of three types of particles. First, dense white sparks emerge from the center. Half a second later, more diffuse orange blast particles appear around a larger area. One second after that, hot smoke emerges from underneath both of these layers as they fade away. You can offset a cell in the Timeline or mini-Timeline to start before the emitter. This creates a “preroll” in which the particle simulation starts before the particles are drawn. For more information on adjusting the timing of layers in the Timeline, see Using the Timeline. Creating Graphics and Animations for Particle Systems Creating a particle system from scratch begins with designing the particles you want it to emit. You can use any image, shape, text, or movie supported by Motion as a source for a cell. This section presents guidelines for creating particle imagery. Creating Still Image Graphics for Particle Systems Particle systems that use still images as their cell sources render in real time much faster than systems that use video or animation clips. A still image is often all you need to create a compelling particle system. Here are some guidelines for creating graphics for use as particles. 686 Chapter 14 Working with Particles Graphics Size If you are unsure what size you want your particles to be, it’s a good idea to make your graphics larger rather than smaller. Increasing the size of particles beyond the size of the original graphic can introduce unwanted artifacts. One caveat, however, is that the larger the cell source size, the slower your playback performance. Particle Edges The quality of the edges of your graphics can be extremely important for creating convincing particles. Soft, translucent edges might look better than hard, over-defined ones. Object Color By default, particles are created using the original colors of the image used as the cell. If necessary, you can tint the emitted particles using the Color Mode parameters in the Emitter and Particle Cell Inspectors. Choose between tinting all particles with a single color or creating a gradient tint that changes color over time. You can also choose to apply a Library gradient to the particles. Tinting particles applies the tint color uniformly over the entire particle system. Alpha Channels Always create graphics that you want to use as cells with predefined alpha channels. For more information on importing files with alpha channels, see More About Alpha Channels. Creating Animations to Use as Cells You can also use QuickTime movies as cells. For example, you can create an animation in Motion, render it as a QuickTime movie, and import it into another Motion project to use as a cell. In general, the same recommendations for creating still graphics apply to the creation of animation or video clips you intend to use as cells, but there are additional considerations. If a clip is retimed in the Properties Inspector or with a Retiming behavior, the effect of the retiming is carried through to the particle system. Note: Using a movie as the source cell for an emitter can impact your project’s playback performance. Looping Clips Particles created from QuickTime clips loop over and over for the duration of each particle’s life. If the clip you use doesn’t loop well, there will be a jump cut at every loop point. Another option is to use very short movies to introduce randomness into the appearance of the particle system. Chapter 14 Working with Particles 687 Minimal Compression Ideally, QuickTime clips to be used as particles should be saved using a high-quality codec, such as Animation, Uncompressed 8- and 10-bit 4:2:2, or ProRes 4444. Other codecs can be used, but they might introduce unwanted artifacts depending on the level of compression used. There is an option to use random start frames, which causes the clips to play out of sync relative to one another in the Canvas. There is also an option to play or not play the clip. The Difference Between Emitter and Particle Cell Parameters Emitter and particle cell parameters, though closely related, serve different purposes. Emitter parameters control the overall shape and direction of the animated mass of particles generated by the system. Other emitter parameters simultaneously modify the parameters of all cells inside that emitter. Particle cell parameters control the behavior of particles generated from each cell inside the particle emitter. For more information, see Particle Cell Parameters in the Inspector. When only one layer is used as a particle cell source, the cell controls appear in the Emitter Inspector as well as in the Particle Cell Inspector. If more than one layer is added to a Particle Emitter, all cell controls appear in the Particle Cell Inspector. To access this Inspector, the cell must be selected in the Layers list or Timeline. To open a particle system’s Emitter Inspector 1 Select an emitter object in the Layers list, Timeline, or Canvas. 2 In the Inspector, click the Emitter Inspector. The Emitter controls appear. The contents of the Emitter Inspector are dynamic—different parameters appear depending on the number of cells in the particle system, the emitter shape that’s used, and whether the 3D checkbox is selected or deselected. Parameters in the Particle Cell Inspector control the behavior of particles generated by the selected cell, independently of the parameters governing the emitter. In particle systems with multiple cells, each cell has its own parameters. This lets you create particle systems made up of many kinds of particles, each with distinctly different behaviors. For more information on using the Particle Cell parameters, see Particle Cell Parameters in the Inspector. To open a cell’s Particle Cell Inspector 1 Select any cell in an emitter in the Layers list or Timeline. 2 In the Inspector, open the Particle Cell pane. 688 Chapter 14 Working with Particles The Cell controls appear. Chapter 14 Working with Particles 689 Single Cell Versus Multi-Cell Emitter Parameters If a particle system has only one cell, the Emitter Inspector displays all parameters for the cell, as well as the emitter’s own parameters. In this case, you can control every aspect of the particle system from this single Inspector, which saves you from going back and forth between the Emitter and Particle Cell Inspectors. 690 Chapter 14 Working with Particles If a particle system has two or more cells, the Emitter Inspector looks much different. The list of parameters is much shorter, and the majority of the cell parameters are replaced with a smaller group of Master Controls (hidden by default). Chapter 14 Working with Particles 691 Changes made using the Master Controls modify the effect of each cell’s parameters relative to the other cells in the system. This means that for a particle system with three cells that have different Scale values, increasing the Scale parameter in the Emitter Inspector multiplies the Scale value of all three cells by the same percentage. This has the result of increasing or reducing the size of every particle in the system, while keeping the size of each particle relative to one another the same. Original particle system Particle system scaled to 200 percent For this reason, the Master Controls parameters of multi-cell particle systems appear as percentages. Emitter and Cell Parameters Several parameters in the Emitter Inspector are identical to those found in the Emitter HUD, with one difference: Although the emission control in the Emitter HUD allows you to manipulate the Range, Angle, Latitude (3D), Longitude (3D), and Speed parameters using a single, graphical control, the Emitter Inspector uses individual controls for each parameter. Note: There is no way to control the animation of individual particles. 692 Chapter 14 Working with Particles Important: The emitter parameters in the Properties and Emitter Inspectors can be keyframed to change values over time. Emitter Parameters in the Inspector These parameters (in the Emitter Controls group) determine how particles are distributed and rendered in your project. The Emitter Inspector has a large number of parameters, some of which depend on the settings of other parameters in the Inspector. All combinations of parameters are described below. Shape: The first parameter in the Emitter Inspector is the Shape pop-up menu. When 3D is turned off, nine options are available. When the 3D checkbox is selected, two additional shapes become available. Different shapes significantly alter the distribution of generated particles. When you choose an emitter shape, different Emitter Inspector parameters appear that are unique to that shape. For example, when Rectangle is the selected shape, Outline, Tile Fill, and Random Fill become available in the Arrangement options. When Spiral is the selected shape, the Arrangement parameter goes away and new parameters such as Radius, Number of Arms, and Twists become available. These different parameters provide additional control over the distribution of particles. In addition, when the 3D checkbox is selected, the Render Particles, Emission Latitude, Emission Longitude, and Depth Ordered parameters become available for all emitter shapes. • Point: This is the simplest emitter shape and is the default shape for new emitters. It specifies a single point of emission for a particle system. There are no additional parameters for the Point shape. Chapter 14 Working with Particles 693 • Line: Particles emerge from a line. Using the onscreen controls (with the Adjust Item tool) or the Properties Inspector, you can specify the length and location of the line. In the Inspector, you can set a specific number of points where particles emerge. This emitter shape is good for creating sheets of particles that cascade over a wide area. The Line shape displays additional parameters. • Rectangle: Particles emerge from a rectangle along its edge, or in a tile-fill or random-fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the rectangle. Drag the corners to adjust width and height; drag edges to adjust width or height independently. Depending on the selected Arrangement, the Rectangle emitter shape displays additional parameters. In the following image, the Emitter shape Arrangement parameter is set to Outline. Use the following modifier keys to more precisely manipulate the corners of the Rectangle onscreen controls (with the Adjust Item tool): • Option: Adjustments to size are scaled uniformly, with the anchor point remaining fixed. • Shift: Adjustments to size are made proportionally. 694 Chapter 14 Working with Particles • Circle: Particles emerge from a circle-shaped emitter. Particles can be emitted in an outline, tile-fill, or random-fill pattern. This emitter shape is good for surrounding an element in a composition with particles that emerge from its edge. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the circle. Depending on the selected Arrangement, the Circle emitter shape displays additional parameters. In the following image, the shape’s Arrangement parameter is set to Outline. • Burst: Particles emerge from a burst pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the burst. The Burst shape displays additional parameters. Chapter 14 Working with Particles 695 • Spiral: Particles emerge from a spiral pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the spiral. The Spiral shape displays additional parameters. • Wave: Particles emerge from a waveform. Using the onscreen controls (with the Adjust Item tool) or the Start Point and End Point parameters in the Emitter Inspector, you can specify the length and location of the wave. The Wave shape displays additional parameters. • Geometry: Particles emerge from the edge of a shape, defined by a spline object used as the shape source. The Geometry shape displays additional parameters. The following image on the right shows the shape used as the emitter source. The image on the left shows particles emerging from the edge of the shape source. 696 Chapter 14 Working with Particles To apply a shape as the geometry shape source for a particle emitter, drag the shape to the Shape Source well in the Emitter Inspector (after Geometry is chosen from the Shape pop-up menu). • Image: Particles emerge from within an area defined by an image or from only the edges of the image. The image may or may not have an alpha channel. If it does, the shape of the alpha channel can also be used to define the emitter shape. The Image shape displays additional parameters. The following image on the right shows the image used as the emitter image source. The image on the left shows the particles emerging from within the image. To apply an image as the image source for a particle emitter, drag the image to the Image Source well in the Emitter Inspector (after Image is chosen from the Shape pop-up menu). Chapter 14 Working with Particles 697 • Box: This option is available when the 3D checkbox is selected in the Emitter Inspector. Particles are emitted from a three-dimensional cube along its surface (Outline), or in a tile-fill or random-fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the rectangle. Drag the front horizontal edge to adjust height; drag the front vertical edge to adjust width; drag a back edge to adjust depth; drag a front corner to simultaneously adjust the width and height. To reposition the emitter, drag in the shape (but not on an edge or corner point). Depending on the selected Arrangement, the Box shape displays additional parameters. In the following image, the box’s Arrangement is set to Tile Fill. • Sphere: This option is available when the 3D checkbox is selected in the Emitter Inspector. Particles are emitted from a three-dimensional sphere along its surface (Outline), or in a tile-fill or random-fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the radius and location of the sphere. Drag the outline of the sphere to adjust its radius; drag in the sphere to reposition it in the Canvas. When Sphere is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Sphere shape displays additional parameters. Arrangement: This pop-up menu, available when Rectangle, Circle, Image, Box, or Sphere is chosen in the Shape pop-up menu, specifies the pattern from which the particles are generated. The arrangement options are: • Outline: Emits particles along the edge of the shape in 2D emitters and along the surface of the shape in 3D emitters. • Tile Fill: Emits particles from a tiled pattern of rows, columns, and ranks (for 3D emitters) in the circle, rectangle, image, box, or sphere. You can specify the number of columns, rows, and ranks, as well as the Tile Offset. • Random Fill: Emits particles randomly from within the circle, rectangle, image, box, or sphere. 698 Chapter 14 Working with Particles Size: This slider becomes available when Rectangle or Box is chosen in the Shape pop-up menu. Defines the size of the rectangle or cube from which particles are emitted. The Size slider is available whether the Arrangement is set to Outline, Tile Fill, or Random Fill. When Rectangle is the selected shape, the Width and Height parameters become available. When Box is selected, an additional Depth parameter is available. Note: The Height is measured in project pixels; however, the Width is measured in square pixels. This is done so a shape that is numerically square will look square when Correct for Aspect Ratio is turned on (checkmarked) in the View pop-up menu in the top-right corner of the Canvas. Columns: This slider becomes available when one of the following is chosen in the Shape pop-up menu: Rectangle, Circle, Image, Box, or Sphere; in addition, Arrangement must be set to Tile Fill. This parameter specifies the number of horizontal emitter points on a grid over the selected emitter shape. In the case of an irregular shape (nonrectangular), grid points that fall outside of the shape are ignored. Rows: This slider becomes available when one of the following is chosen in the Shape pop-up menu: Rectangle, Circle, Image, Box, or Sphere; in addition, Arrangement must be set to Tile Fill. This parameter specifies the number of vertical emitter points on a grid over the selected emitter shape. In the case of an irregular shape (nonrectangular), grid points that fall outside of the shape are ignored. Ranks: This slider becomes available when Box or Sphere is chosen in the Shape pop-up menu and Tile Fill is the selected Arrangement. This parameter specifies the number of points in Z space on a grid over the selected shape from which particles are emitted. Tile Offset: This slider becomes available when one of the following is chosen in the Shape pop-up menu: Rectangle, Circle, Image, Box, or Sphere; in addition, Arrangement must be set to Tile Fill. Values from 0 to 100% offset the rows toward the right, and values from 0 to –100% offset the rows toward the left. A value of 50 or –50% creates a “brickwork” pattern. Image Source: This image well, available when Image is chosen in the Shape pop-up menu, lets you specify the object used to define the shape of the emitter. Shape Source: This image well, available when Shape is set to Geometry, lets you specify a spline object to define the shape of the emitter. Emission Alpha Cutoff: This slider becomes available when Image is chosen in the Shape pop-up menu. When the Image Source object contains an alpha channel, this slider defines the minimum opacity value necessary to create particles at that point on the source image. For example, when set to 25%, particles appear only where the alpha value of the image is equal to or greater than 25% opacity. The lower the Emission Alpha Cutoff value, the more particles appear. For this parameter to be effective, the alpha channel must have areas of varying transparency. Chapter 14 Working with Particles 699 Start Point: This parameter, which becomes available when Shape is set to Line or Wave, consists of two value sliders that define, in X and Y coordinates, the first point of the line used as the emitter shape. Click the disclosure triangle to modify the Z position of the start point. You can adjust these values in the Canvas using the onscreen controls (with the Adjust Item tool). End Point: This parameter, which becomes available when Shape is set to Line or Wave, consists of two value sliders that define, in X and Y coordinates, the second point of the line used as the emitter shape. Click the disclosure triangle to modify the Z position of the start point. You can adjust these values in the Canvas using the onscreen controls (with the Adjust Item tool). Emit At Points: This checkbox is available when any of the following is chosen in the Shape pop-up menu: Line, Rectangle (with Arrangement set to Outline or Random), or Circle (with Arrangement set to Outline or Random), Burst, Spiral, Wave, Geometry, Box (with Arrangement set to Outline), or Sphere (with Arrangement set to Outline). When the Emit At Points checkbox is selected, particles emerge from a limited number of points (as defined in the Points parameter). When the checkbox is deselected, particles may emerge from anywhere on the line or edge. When the Adjust Item tool is selected, the points become visible in the Canvas. When Emit At Points is selected, two additional parameters become available: Points and Offset. Points/Points Per Arm: This slider becomes available when any of the following is chosen in the Shape pop-up menu: Line, Rectangle, Image, or Circle (with Arrangement set to Outline or Random Fill), Burst, Spiral, Wave, or Geometry; in addition, the Emit At Points checkbox must also be selected. Defines the number of points where particles are emitted. For Rectangle or Circle shapes, the particles are emitted from evenly distributed points along the edge of the shape when Outline is chosen from the Pattern pop-up menu. When the Adjust Item tool is selected, the points are visible in the Canvas. Using a large number of points slows your computer’s processing performance. Radius: This slider becomes available when one of the following is chosen in the Shape pop-up menu: Circle, Burst, Spiral, or Sphere. Defines the size of the shape from which particles are emitted. Twists: This slider, available when Spiral is chosen in the Shape pop-up menu, defines the number of turns in the spiral. The default value is 0.25. 700 Chapter 14 Working with Particles Number of Arms: This slider, available when Burst or Spiral is chosen in the Shape pop-up menu, defines the number of branches from which particles are emitted. The default value is 3. Spiral emitter shape set to default Number of Arms and Twists Spiral emitter shape with default Arms and Twists set to .70 Amplitude: This slider, available when Wave is chosen in the Shape pop-up menu, defines half the distance from the highest point to the lowest point in the wave. Higher values result in more extreme waves. Frequency: This slider, available when Wave is chosen in the Shape pop-up menu, defines the number of waves. Higher values result in more waves. Phase: This dial, available when Wave is chosen in the Shape pop-up menu, defines the degrees of the offset of the waves from the start and end points of the path. When set to 0 degrees (default), the wave begins and ends at half the distance from the highest point to the lowest point in the wave. When set to 90 degrees, the wave begins and ends at the highest point in the wave. When set to 90 degrees, the wave begins at the lowest point in the wave. When set to 180 degrees, the waves are the same as 0 degrees, but inverted. Damping: This slider, available when Wave is chosen in the Shape pop-up menu, determines the direction of progressive diminishment of the oscillation of the wave. Positive damping values diminish the wave forward (from left to right); negative values diminish the wave backward (from right to left). Offset: This slider becomes available when any of the following is chosen in the Shape pop-up menu: Line, Rectangle (with Arrangement set to Outline), Circle (with Arrangement set to Outline), Burst, Spiral, Wave, Geometry, or Image. This parameter offsets the emitter itself or the particles generated on the shape. For example, when the emitter Shape is a Line, changing the Offset value moves the emitter’s position in the Canvas. When the emitter Shape is a Rectangle and Pattern is set to Outline, changing the Offset value moves the particles along the edge of the shape. Chapter 14 Working with Particles 701 3D: When this checkbox is selected, the 3D emitter shapes (Box and Sphere) become available. Because all emitter shapes can be used in 3D space, additional 3D parameters are available for all emitter shapes when the 3D checkbox is selected: Render Particles, Emission Latitude, and Emission Longitude. These additional parameters appear in the Emitter Inspector and HUD. These parameters are available for all shapes, regardless of the Arrangement setting. Note: When the 3D checkbox is selected, particles cannot receive reflections, and the Reflections parameter (in the Properties Inspector) is no longer available for the emitter. Additionally, when the 3D checkbox is selected, In Global 3D (Better) must be selected from the Render Particles pop-up menu for particles to cast shadows and to be affected by lights. For more information on the additional 3D controls in the HUD, see Emitter HUD Parameters. Emission Angle: This dial, available when the Shape pop-up menu is set to a 2D shape, sets the direction in which particles travel. This parameter works in conjunction with the Emission Range parameter. It is equivalent to one of the functions of the graphical emission control in the Emitter HUD. Note: When using an emitter shape other than a Point, such as a Line, Circle, Rectangle, Spiral, Burst, or Wave, and Outline is chosen from the Arrangement pop-up menu, setting the Emission Angle parameter to 180 degrees and the Emission Range parameter to 0 degrees restricts the emission of particles to the inside of the shape. Setting the Emission Angle parameter to 0 degrees and the Emission Range parameter to 0 degrees restricts the emission of the particles to outside of the shape. Emission Range: A dial that restricts the area around the center of each emission point where particles are generated, in the direction of the Emission Angle. It is equivalent to one of the functions of the graphical emission control in the Emitter HUD. Note: When using a Line, Circle, Rectangle, Spiral, Burst, or Wave (but not Geometry) shape, setting the Emission Range parameter to 0 degrees keeps particles perpendicular to the emitter when they emerge. Render Particles: A pop-up menu that appears when the 3D checkbox is selected, enabling you to choose between two rendering methods for the particles: • In Local 3D (Faster): The default setting, renders particles faster but does not allow for intersections with layers in the particles group or with layers in other groups. Nor does it allow particles to cast shadows. • In Global 3D (Better): This setting allows the particles to intersect with layers in the emitter group and with layers in other groups. When turned on, your project’s playback performance is slowed. 702 Chapter 14 Working with Particles Important: When the 3D checkbox is selected, In Global 3D (Better) must be selected from the Render Particles pop-up menu for the 3D particles to cast shadows and to be affected by lights. Emission Latitude: Available when the 3D checkbox is selected, this dial specifies the emission direction (in degrees latitude) of the particles. Emission Longitude: Available when the 3D checkbox is selected, this dial specifies the axis of rotation (in degrees longitude) from which the particles are emitted. Depth Ordered: This checkbox becomes available when the 3D checkbox is selected. With Depth Ordered deselected, particle distribution is completely random, regardless of size. The result is the possibility of particle arrangements appearing to violate the rules of perspective. Chapter 14 Working with Particles 703 When selected, this checkbox draws the particles in the particle system according to each particle’s actual 3D position in the project. In other words, particles closer to the camera appear closer; particles farther from the camera appear more distant. Render Order: A pop-up menu that determines whether new particles are drawn on top of or underneath particles that have already been generated. There are two options: • Oldest First: New particles appear on top of older particles. • Oldest Last: New particles appear underneath older particles. Interleave Particles: Selecting this checkbox mixes particles generated from multiple cells together. Deselecting this checkbox layers particles in the same order as the cells that generate them. Note: This option has no effect with particle systems containing only one cell. Leaving this option off speeds rendering with multiple cells. Face Camera: This checkbox, available when 3D is enabled, forces the particle system to face the active scene camera. For more information on cameras, see Active Camera. 704 Chapter 14 Working with Particles Particle Cell Parameters in the Inspector The following parameters apply to the creation and motion of the individual particles generated by each cell in an emitter. Cell controls appear at the bottom of the Emitter Inspector when a particle system is selected, and in the Particle Cell Inspector when a particle cell is selected. Chapter 14 Working with Particles 705 Birth Rate: A slider that defines the birth rate of the cell. In other words, this parameter defines how many particles of this cell emerge from the emitter every second. Higher values create denser particle effects. Low birth rate particle system High birth rate particle system Birth Rate Randomness: A slider that defines an amount of variance in the Birth Rate of generated particles. A value of 0 results in no variance—particles emerge from the emitter at the same rate. A value greater than 0 introduces a variance defined by the Birth Rate parameter, plus or minus a random value falling within the Birth Rate Randomness setting. Initial Number: A slider that defines the initial number of particles. This parameter determines how many particles of this cell appear at the first frame of a particle effect. The result is an initial burst of particles that eventually evens out according to the Birth Rate parameter. Initial Number set to 5 (frame 3) Initial Number set to 20 (frame 3) 706 Chapter 14 Working with Particles Life: A slider that defines the duration of every particle, in seconds. This parameter specifies how long each particle lasts before vanishing from existence. This effect is similar to how sparks disappear after flying away from a sparkler. Unless the Color Over Life parameter or Opacity Over Life parameter is used to fade each particle out over its life, particles immediately vanish at the end of their lifetimes. Life set to 5 (frame 60) Life set to 2 (frame 60) Life Randomness: A slider that defines an amount of variance in the life of generated particles. A value of 0 results in no variance—all particles from the selected cell emerge with the same lifetime. A value greater than 0 introduces a variance defined by the Life parameter, plus or minus a random value falling within the Life Randomness setting. Speed: A slider that defines initial speed. This parameter determines how quickly each particle flies away from the emitter. This, in conjunction with the Life and Birth Rate parameters, determines how many particles appear in the Canvas at a given frame. It is equivalent to one of the functions of the graphical emission control in the HUD. Speed Randomness: A slider that defines an amount of variance in the speed of generated particles. A value of 0 results in no variance—all particles from the selected cell emerge with the same speed. A value greater than 0 introduces a variance defined by the Speed parameter, plus or minus a predetermined random value falling within the Speed Randomness setting. Align Angle: When this checkbox is selected, particles rotate to match the shape on which they are positioned. This parameter is available in all cases but the following: when the Shape setting (in the Emitter Inspector) is Rectangle, Circle, Image, Box, and Sphere and the Arrangement setting is with Tile Fill or Random Fill; or when the Shape setting is Point. Angle: A dial that defines the angle of rotation, in degrees, at which new particles are created. Angle Randomness: A dial that defines an amount of variance in the angle of generated particles. Spin: A dial that animates particles in a system by initially spinning each particle around its center. Adjustments to this control are in degrees per second. Chapter 14 Working with Particles 707 Spin Randomness: A dial that defines an amount of variance in the spin of generated particles. A value of 0 results in no variance—all particles from the selected cell spin at the same rate. A value greater than 0 introduces a variance defined by the Spin parameter, plus or minus a random value falling within the Spin Randomness setting. Additive Blend: By default, particles are composited together using the Normal blend mode. Select this checkbox to composite all overlapping generated particles together using the Additive blending mode. This blending occurs in addition to whichever compositing method is already in use. The result is that the brightness of overlapping objects is intensified. This effect applies to the particle system itself—the blend mode of the emitter determines how the result of the emitter is blended into the scene. Additive Blend off Additive Blend on Color Mode: A pop-up menu that determines if and how particles are tinted. There are five options: • Original: Particles are generated using their original colors. When Original is chosen, the Opacity Over Life parameter appears. Adjust the opacity controls to animate changes to the opacity of particles over their lifetime. For more information on using the gradient controls, see Using the Gradient Editor. 708 Chapter 14 Working with Particles • Colorize: Particles are tinted using the color specified in the Color parameter. When this setting is selected, additional Color and Opacity Over Life parameters appear. • Color: Available when the Color Mode is set to Colorize, specifies a color to use to tint the particles. You can also modify the alpha channel of each particle, altering its opacity. This parameter is unique to the cell object. You can click the color well to choose a color, use the eye dropper, or open the disclosure triangle and adjust the Red, Green, Blue, and Opacity channel sliders. For more information on using the Color controls, see Color Well. For more information on using the gradient controls, see Using the Gradient Editor. • Over Life: Particles are tinted based on their age, with the range of possible colors defined by the Color Over Life gradient editor. Chapter 14 Working with Particles 709 • Pick From Color Range: Particles are tinted at random, with the range of possible colors defined by the Color Range gradient editor. A point on the gradient is randomly chosen, so the relative sizes of each color region determine the frequency of the color being used. For more information on using the gradient controls, see Using the Gradient Editor. • Take Image Color: When you choose this menu item, each new particle’s color is based on the color of the image at the position where the particle was generated. This menu item is available only when the Shape pop-up menu in the Emitter Inspector is set to Image. Color Over Life: The Color Over Life gradient editor, available when the Color Mode is set to Over Life, defines the range of color that each particle assumes as it ages, beginning with the leftmost color in the gradient, and progressing through the range of colors until finally reaching the rightmost color at the end of its life. For more information on using the gradient controls, see Using the Gradient Editor. Color Repetitions: Available when Color Mode is set to Over Life, this slider determines the number of times the gradient color pattern is repeated over the life of the particle. Color Range: This gradient editor appears when Color Mode is set to Pick From Color Range. Use it to define a range of colors used to randomly tint new particles. The direction of the gradient colors is not relevant, only the number of colors that appear in the gradient. The Color Range parameter has the same controls as the Color Over Life gradient editor. 710 Chapter 14 Working with Particles Scale: A slider that defines the scale of every particle of a cell. Click the disclosure triangle next to the Scale parameter to reveal separate X and Y scaling subparameters, which can be used to resize the width and height of generated particles. This control affects the initial scale of the particle (compared to the Scale Over Life behavior in the Particles behavior category). Scale set to 200% Scale set to 50% Note: When you use an image as a particle cell source and set a low Scale value, set the render quality in the Render pop-up menu (above the Canvas) or the View menu to Best (choose View > Quality > Best). Scale Randomness: A slider that defines an amount of variance in the scale of generated particles. A value of 0 results in no variance—all particles from the selected cell emerge with the same size. A value greater than 0 introduces a variance defined by the Scale parameter, plus or minus a random value falling within the Scale Randomness setting. Attach To Emitter: A slider that determines how closely particles follow the position of a moving emitter. If set to zero, particles follow their own path after being emitted, resulting in particles that trail along the motion path the emitter is following. If this parameter is set to 100, in the absence of other behaviors, all generated particles follow the emitter, surrounding it in a moving cloud of particles. Attach to Emitter set to 0 (zero) Attach to Emitter set to 100 Chapter 14 Working with Particles 711 Play Frames: This checkbox, which appears if the particle system was created from a QuickTime movie, controls playback. If selected, playback of the animation or movie clip used to generate each particle loops. If deselected, particles are generated using the still frame specified by the Random Start Frame parameter or the Source Start Frame parameter. Random Start Frame: This checkbox, which appears if the particle system was created from a QuickTime movie, introduces variation into animated particles generated from QuickTime objects. If selected, each newly generated particle begins at a different frame of the animation. Stills are chosen randomly if Play Frames is deselected. Source Start Frame: This slider is available if the particle system was created from a QuickTime movie, and Random Start Frame is deselected. Use it to set the start frame of the animation (if the Play Frames checkbox is selected) or the still frame to display (if the Play Frames checkbox is deselected). Hold Frames: This slider, available if the particle system was created from a QuickTime movie, sets the number of times each frame of the source movie is repeated during playback. The larger the Hold Frames value, the slower your playback. Hold Frames Randomness: This slider, available if the particle system was created from a QuickTime movie, varies the number of frames to “hold.” Show Particles As: Use this pop-up menu to view particles in different preview modes, or as they actually appear. These nonimage modes play more efficiently when viewing a complex particle system and also provide other ways of analyzing particle motion. By default, this parameter is set to Image, which displays each particle as it is supposed to appear. There are four menu items: • Points: Each particle is represented by a single point. This is the fastest preview mode and is useful for displaying the type and speed of particle motion in a system. When selected, the Point Size parameter is revealed. 712 Chapter 14 Working with Particles • Lines: Each particle is represented by a line. This is a good preview mode to use to analyze the vector of each particle’s motion. The length of each line is determined by that particle’s speed, and the angle of each line equals each particle’s direction. • Wireframe: Each particle is represented by a bounding box. Because the bounding boxes are good indicators of each particle’s orientation in the system, this preview mode is useful for evaluating the movements of individual particles. For example, it’s easy to see the angle of rotation for particles spinning or following a complex motion path. • Image: Displays the full particle system effect. Chapter 14 Working with Particles 713 Note: Whatever is chosen in the Show Particles As pop-up menu appears in your final render. This can result in some interesting effects. Point Size: This slider appears when Show Particles As is set to Points, and lets you adjust how large the points are. Random Seed: Although particle systems seem random, they’re deterministic. This means that the variation in each particle system is created based on the number shown here. Unless this seed number is changed, a particle system with the same parameter settings always plays back with the same motion. If you don’t like the current random motion or distribution of the particle system, you can change the seed number by typing a new number or clicking Generate. This changes the random calculations performed for that system for all randomness parameters. For more information about the random nature of particle systems, see The Predictability of Particle Systems. Particle Source: In particle systems with more than one cell, an image well representing each cell appears at the bottom of the Emitter Inspector. Each Particle Source well has a checkbox you can use to enable or disable that cell. Animating Objects in Particle Systems You can add behaviors to a particle system’s emitter, or to the cells themselves, to achieve sophisticated, organic effects with very little effort. You can animate any emitter using Basic Motion, Parameter, or Simulation behaviors. Emitter parameters and cell parameters can also be animated via keyframes. If you animate emitter-specific parameters such as Emission Angle or Emission Range, the position and distribution of new particles generated by that emitter are animated. All animation occurs relative to the duration of the emitter. Animating an emitter’s Properties Inspector parameters is useful for altering the position and geometric distribution of a particle system over time. Keyframing an emitter’s Position parameter moves the source of newly emitted particles without affecting any particles generated at previous frames, creating a trail of particles. Keyframing an emitter’s Emitter Inspector parameters is a good way to modify the particle system’s overall characteristics over time, such as increasing or decreasing the size, speed, or lifetime of newly generated particles. Particles also have their own category of behaviors. The Particles behaviors include Scale Over Life and Spin Over Life, which allow you to modify and animate the rotation and size of the particles over their lifetime. Using the Motion Tracking behaviors, you can apply existing tracking data to an emitter or track an emitter to a clip. For more information on using the Motion Tracking behaviors, see Motion Tracking. 714 Chapter 14 Working with Particles For an example of a keyframed emitter object in a particle system, see Example 2: Creating Animated Pixie Dust. For more information on keyframing parameters in the Keyframe Editor, see Keyframes and Curves. Applying Behaviors to Emitters Applying behaviors to emitters is a quick and easy way to move emitters in your project. Attaching the Motion Path and Snap Alignment to Motion behaviors to an emitter affects the position of the source of all new generated particles. Throw and Spin affect the position and rotation, respectively, of the emitted particles, unless Affect Subobjects is deselected. With all Basic Motion behaviors, after individual particles emerge, they’re unaffected by changes to the position of the emitter. This means that moving the emitter around the screen using behaviors results in the creation of a trail of particles that behave according to their particle cell parameters. Note: You can override this effect by increasing a cell’s Attach to Emitter parameter value (in the Cell Controls group of the Emitter Inspector). To apply a behavior to an emitter µ Drag a behavior from the Library onto an emitter in the Canvas, Layers list, or Timeline. The behavior is applied to the emitter, which begins to move according to the parameters of the behavior. Note: Not all behaviors instantly activate an object when applied. For example, when a Throw behavior is applied to an object, the Throw Velocity parameter must be adjusted before the object moves. Applying Behaviors to Cells Simulation behaviors applied to cells are in turn applied to each particle generated from that cell. This can result in some extremely complex animations as dozens of particles move according to the behaviors you’ve defined. Behaviors applied to cells have no effect on the position of the emitter. Parameter behaviors on a cell only affect particles when they are created. To apply a behavior to a cell µ Drag a behavior from the Library to a cell in the Layers list or Timeline. The behavior is applied to the cell, and all particles generated from that cell begin to move according to the parameters of the behavior. Tip: If you do not see your expected result when applying behaviors to particle cells, try selecting or deselecting the Affect Subobjects checkbox (in the Behaviors Inspector) or selecting a different option from the Affect pop-up menu in the HUD or Behaviors Inspector. These parameters determine whether the entire object (such as the particle emitter) or its components (such as the particle cells) are affected by the behavior and how an object interacts with surrounding objects, respectively. Chapter 14 Working with Particles 715 Note: The Affect Subobjects checkbox only appears in the Behaviors Inspector when the Throw and Spin behaviors are applied to a group that contains multiple objects, such as a group, particle emitter, or text. Applying Parameter Behaviors to Emitter or Cell Parameters As with all objects in Motion, you can apply Parameter behaviors to the parameters in the Emitter or Particle Cell Inspector. To apply a Parameter behavior to an emitter or cell parameter Do one of the following: µ Drag a behavior from the Parameter category in the Library onto an emitter or cell in the Layers list or Timeline. In the Apply To section of the Behaviors Inspector or HUD, choose an option from the Go pop-up menu. µ Select an emitter or cell in the Layers list or Timeline, then choose a Parameter behavior from the Add Behavior pop-up menu in the toolbar. In the Apply To section of the Behaviors Inspector or HUD, choose an option from the Go pop-up menu. µ In the Emitter or Particle Cell Inspector, Control-click a parameter, then choose a Parameter behavior from the shortcut menu. Using Particles Behaviors The Particles category in the Library contains two behaviors specifically for use with the cells or emitter in a particle system: Scale Over Life This behavior lets you grow or shrink the particles in a system over the duration of each particle’s life. It has one main parameter and three optional parameters that appear depending on the selected Increment Type. Parameters in the Inspector Increment Type: Choose an option from this pop-up menu to determine which method is used to resize particles over their lifetime. There are four options: • Natural Scale: Specifies starting and ending scale percentages used to animate each particle’s size over its lifetime. Natural Scale uses an exponential curve to allow the animation to progress slowly when the scale values are small, and speed up when the values are large. This creates the illusion that the scaling is occurring at a constant speed. When Natural Scale is selected, the Scale At Birth and Scale At Death parameters become available. • Rate: Specifies a steady rate at which particles change size over their entire lifetimes. When Rate is selected, the Scale Rate parameter becomes available. 716 Chapter 14 Working with Particles • Birth and Death Values: Specifies starting and ending scale percentages used to animate each particle’s size over its lifetime. The scale amount generated by this option for a specific particle at a specific time is multiplied by the pre-existing particle Scale (defined in the Cell Controls section of the Emitter Inspector). When this option is selected, the Scale At Birth and Scale At Death parameters become available. • Custom: This mini-curve editor allows you to customize the scale of the particles over their lifetime. Click the disclosure triangle to display the mini-curve editor in the Inspector. For more information on using mini-curve editors, see Mini-Curve Editor. Scale At Birth: Determines the initial size of particles when they are created. This parameter appears when Natural Scale or Birth and Death Values is selected in the Increment Type pop-up menu. Scale At Death: Determines the size of each particle at the end of its lifetime. This parameter appears when Natural Scale or Birth and Death Values is selected in the Increment Type pop-up menu. Scale Rate: Allows you to define how quickly each particle changes size. Positive values grow particles over time, while negative values shrink particles over time. This parameter appears when Rate is selected in the Increment Type pop-up menu. Custom Scale: This group of parameters appears when Increment Type is set to Custom. Use this mini-curve editor for more precise control over the Scale of particles in your particle system. • Custom Scale: Use this slider to adjust the value of the selected keyframe in the mini-curve editor. This parameter appears when Custom is selected in the Increment Type pop-up menu. • Over Life: Use this slider to adjust the position of the selected keyframe in the life of the particle. This parameter appears when Custom is selected in the Increment Type pop-up menu. HUD Controls The HUD contains the Increment Type pop-up menu, and the Scale Rate, Scale At Birth, and Scale At Death parameters. Spin Over Life This behavior lets you spin the particles in a system over the duration of each particle’s life. It has one main parameter and three optional parameters that appear depending on the selected Increment Type. Parameters in the Inspector Increment Type: A pop-up menu that determines which method is used to spin particles over their lifetime. There are three options: • Rate: Specifies a steady rate and direction in which particles spin over their lifetime. When Rate is selected, the Spin Rate parameter becomes available. Chapter 14 Working with Particles 717 • Birth and Death Values: Specifies starting and ending spin degrees used to animate each particle’s rotation over its lifetime. The spin amount generated by this option for a specific particle at a specific time is added to the pre-existing particle spin (defined in the Cell Controls section of the Emitter Inspector). When this option is selected, the Spin At Birth and Spin At Death parameters become available. • Custom: When Increment Type is set to Custom, a mini-curve editor appears that allows you to customize the spin of the particles over their lifetime. Click the disclosure triangle to display the mini-curve editor in the Inspector. For more information on using mini-curve editors, see Mini-Curve Editor. Spin Rate: Allows you to define how quickly each particle spins and the direction of the spin. Positive values spin particles faster over time and in a counterclockwise direction; negative values spin particles slower over time and in a clockwise direction. Spin At Birth: Determines the initial spin of the particles when they are created. Spin At Death: Determines the spin of the particles at the end of their lifetime. Custom Spin: This group of parameters appears when Increment Type is set to Custom. Use this mini-curve editor for more precise control over the Spin of particles in your particle system. • Custom Spin: Use this control to adjust the value of the selected keyframe in the mini-curve editor. This parameter appears when Custom is selected in the Increment Type pop-up menu. • Over Life: Use this slider to adjust the position of the selected keyframe in the life of the particle. This parameter appears when Custom is selected in the Increment Type pop-up menu. HUD Controls The HUD contains the Increment Type pop-up menu, and the Spin Rate, Spin At Birth, and Spin At Death parameters. Viewing Animated Emitter Curves in the Keyframe Editor When you animate an emitter or cell parameter using keyframes, a curve describing that animation appears in the Keyframe Editor. The selected object determines which curves appear in the Keyframe Editor (when Animated is selected from the pop-up menu in the top-left corner of the Keyframe Editor): • Select the emitter to display animated emitter parameters such as Position and Rotation (in the Properties Inspector) or Emission Angle and Range (in the Emitter Inspector). • Select the cell to display animated parameters such as Birth Rate or Angle (in the Particle Cell Inspector). 718 Chapter 14 Working with Particles Note: To manually send an animated parameter to the Keyframe Editor, choose Show In Keyframe Editor from the parameter’s Animation menu. The parameter is displayed in the Keyframe Editor in a new, untitled curve set. Using Masks with Particle Systems As shown in the following images, you can apply masks to the cell source of a particle emitter. The effect of the mask on the cell source is carried through to the emitted particles. Original source layer Bezier mask applied to source layer Resulting particle system Chapter 14 Working with Particles 719 You can also apply masks to the emitter object itself. Rectangle mask (inverted) applied to the emitter object For more information on working with masks, see Masking a Layer or Group. Applying Filters to Particle Systems Filters can only be applied to a particle system’s emitter. You cannot apply separate filters to individual cells. (Filters can be applied to the source of a particle cell, but not to a cell directly.) As a result, filters affect the entire particle system, including every element in the pattern. Light Valve particle system default Light Valve with Bulge filter applied For more information on applying filters to layers in your project, see Using Filters. For more information on keyframing particle system parameters, see Animating Objects in Particle Systems. Particle System Examples This section presents two examples of how to use particle systems to create very different effects. The particle system created in the second example is turned into a 3D particle system after the “pixie dust” is animated. 720 Chapter 14 Working with Particles Tip: You can use the Make Clone Layer command to clone an emitter and then use the Retiming controls or Retiming behaviors to create unique animations. For example, you can create a starburst that explodes outward, then retracts, then explodes, and so on. For more information on cloning, see Making Clone Layers. Example 1: Creating an Animated Background This first example describes how to create an animated background using a single still image. By using the parameters available in the Emitter Inspector, a single image can be turned into a complex animated texture. To create an animated background from a single image 1 Drag a file into the Canvas. This example uses a simple star graphic. 2 With the new layer selected, click the Make Particles button in the toolbar (or press E). When you add an emitter to the project, the following occurs: • The emitter appears in the Layers list and is selected. • A cell containing the image to be “particle-ized” appears underneath the emitter. • The original source layer (cell source) is disabled. • In the Canvas, the emitter bounding box appears, which can be transformed using the onscreen controls. • The first particle appears in the Canvas in the same location as the original object. Although it appears as if the particle is selected, it is the bounding box for the emitter. • The Emitter HUD appears. If you have hidden the HUD, press D or F7. Note: For projects with a frame rate greater than 30 fps, at times only the bounding box (not the particle cell) might appear at the first frame of your project. Because particles are generated at a rate of 30 per second, there is no guarantee a particle will appear on every frame. 3 In the Emitter Inspector, choose Circle from the Shape pop-up menu. 4 Choose Tile Fill from the Arrangement pop-up menu. Chapter 14 Working with Particles 721 5 In the Cell Controls section of the Emitter Inspector, set the Initial Number parameter to 12. This creates a distributed group of particles that partially fills the Canvas. 6 To turn the particles into a uniform abstract mass, adjust the following parameters: • Set Life to 4. • Set Speed to 140. • Set Spin to 60. • Set Spin Randomness to 15. • Select Additive Blend. • Set Color Mode to Pick From Color Range. (Or, if you prefer, select another gradient from the preset pop-up menu.) • Set Scale to 65%. • Set Scale Randomness to 150. • Set Random Seed to 10000. • Advance to frame 100. The resulting image now looks similar to this: 7 Apply a filter to the emitter. 722 Chapter 14 Working with Particles In this example, adding the Crystallize filter creates an even more abstract effect. You might also consider adjusting the color gradient, or applying color correction to make the background fit more appropriately with your foreground elements. 8 Adjust the Color Range opacity gradient so the particles fade in and out rather than popping into and out of existence. Example 2: Creating Animated Pixie Dust This example shows you how to create a particle system that uses two different cells to generate a streak of particles that trails behind another animated layer. Using two cells adds more variation to a particle system than can be achieved with a single set of cell parameters. To create a two-cell particle system that leaves a trail 1 Drag the first image file into the Canvas. Chapter 14 Working with Particles 723 This example uses the “Flare01” image from the Particle Images subcategory in the Content category of the Library. This is a small image of a lens flare against black, with a built-in alpha channel. 2 With the flare object selected, click the Make Particles button in the toolbar (or press E). An emitter is added to the project, but nothing happens yet because the playhead is at the first frame of the project, and only one particle has been created. Move the playhead forward a few seconds to view the particle system at a frame where more particles have been generated. You can also play the project while you make your modifications to the particle system. 3 To create a variety of particles, drag additional image layers onto the emitter you just created. This example uses the “Spark12” file, also located in the Content folder in the Library. 724 Chapter 14 Working with Particles This results in the following image: 4 To make the particles generated by each different cell mingle together, select the Interleave Particles checkbox in the Emitter Inspector. 5 Select the “Flare01” cell in the Layers list, then set the Scale slider in the Particle Cell Inspector to 15%. Doing this reduces the size of the particles generated by this cell. 6 Select the “Spark12” cell in the Layers list, then set the Scale slider in the Inspector to 45%. The resulting image should look approximately like this: Note: If necessary, disable the original “Spark12” source layer. 7 Next, change the color of the particles generated by the “Spark12” cell by doing the following: a Choose Colorize from the Color Mode pop-up menu. b Click the color well in the Color section of the Inspector and choose a light red color in the Colors window. c Close the Colors window. Chapter 14 Working with Particles 725 All particles generated by that cell are now red. 8 Use the Opacity Over Life control to make this cell’s particles fade out over their life. 9 To make the spark particles spin as they move away, set the Spin parameter value to 60. 10 In the Layers list, select the “Flare01” cell of the particle system. Its parameters appear in the Inspector. 11 Follow the procedure in Step 7 to make these particles light yellow. 12 To make the particles generated from this cell spin in the opposite direction, set the Spin parameter value to –60. 13 To create a trail of particles, the emitter must be animated to follow the required motion path; do the following to create a motion path for the particle system: a Place the playhead at frame 1. b Click the Record button (or press A) to turn on animation recording. 726 Chapter 14 Working with Particles Note: As an alternative to Step B (turning on the Record button), you can manually add a keyframe to the emitter’s Position parameter in the Properties Inspector after Step C. Any subsequent changes to the emitter’s position result in a keyframe at the current playhead position (regardless of the Record button state). c Select the emitter and drag the particle system to the lower-left corner of the screen. d Press End to go to the last frame of the project. e Drag the emitter toward the upper-right corner. f Disable Record (press A). g Click the Play button to begin playback. 14 Use the following illustration as a guide to adjust the Emission Range and Angle so the particles appear to follow behind the emitter. The result should look something like this: You might want to adjust the Emitter parameters for Birth Rate, Life, and Speed to customize the effect to your liking. Chapter 14 Working with Particles 727 To turn the system into 3D particles 1 In the Emitter Inspector, select the 3D checkbox. 2 If your project does not contain a camera, click the New Camera button in the toolbar. If your project is a 2D project, a dialog appears asking if you want to switch your 2D groups to 3D. 3 Click Switch to 3D. A camera is added to the project, and your layers are turned into 3D layers. 4 In the 3D View tools (in the upper-right corner of the Canvas), drag the Orbit tool (the center tool). Pan tool Dolly tool Orbit tool As the camera rotates, you can see that the particles are emitted in Z space. 728 Chapter 14 Working with Particles If you want your particles to intersect with other rotated layers, choose In Global 3D (Better) from the Render Particles pop-up menu in the Emitter Inspector. In the following image on the left, Global 3D is selected so the particles intersect with other objects in the project that are transformed in 3D space. In the image on the right, Local 3D is selected so the particles do not intersect with other objects. Saving Custom Particle Effects to the Library After you create a particle system, you can save it as a particle preset in the Particle Emitters, Favorites, or Favorites Menu folder of the Library, for future use. When you place particle systems in the Library, they become particle presets that can be used like any other particle preset. Note: For organizational purposes, create a folder of your own in the Favorites or Favorites Menu category to store custom particle systems. To save a particle system to the Library 1 Open the Library and select the Particle Emitters, Favorites, or Favorites Menu category. 2 Drag the emitter you want to save into the stack at the bottom of the Library. When you save a particle preset, it’s saved as a file in the /Users/username/Library/Application Support/Motion/Library/ folder (in the Particle Emitters or Favorites subfolder). Any custom objects that you used to create that particle system also appear here. You can copy particle presets you create from this location to give to other Motion users, or you can place particle presets given to you in this same folder. When you copy a particle preset file, make sure that you also copy any graphics or movie files that it uses as well. For more information on saving custom objects to the Library, see Adding Content to the Library. Chapter 14 Working with Particles 729 Patterns of repeating elements are prevalent in various types of motion graphics projects, from television title sequences, to news intros, to bumpers, to commercials. Creating these complex collages is usually very time-consuming, requiring careful duplication of elements, followed by tedious keyframing. The Motion replicator automates many of the chores usually associated with setting up cascading arrays of kaleidoscopic imagery, allowing you to create and animate your replicated images in dramatic ways. This chapter covers the following: • Replicator Concepts (p. 732) • Anatomy of a Replicator (p. 733) • Getting Started with the Replicator (p. 737) • Basic Replicator Parameters in the HUD (p. 742) • Replicators and the Properties Inspector (p. 746) • Using the Replicator Onscreen Controls (p. 750) • Advanced Replicator Controls (p. 753) • Using Image and Geometry Objects (p. 780) • Using Replicators in 3D Space (p. 782) • Applying Masks to Replicators (p. 784) • Animating Replicator Parameters (p. 785) • Using the Sequence Replicator Behavior (p. 786) • Using Behaviors with Replicators (p. 800) • Applying Filters to Replicators (p. 802) • Saving Custom Replicators to the Library (p. 803) 731 Using the Replicator 15 Replicator Concepts The replicator in Motion builds patterns of repeating elements with minimum effort. The elements of the patterns can consist of video, still images, shapes, text, or any other type of layer in a Motion project. For example, with very few clicks of your mouse you can create spinning loops based on a basic shape. Replicator source shape Replicator result Replicator parameters can be keyframed to change a pattern’s dynamics over time. For example, you can create a wave of dots that follow one another across the screen by keyframing the replicator’s Offset parameter. You can add behaviors to the replicator or its cells to create even more varied effects (simulation behaviors can be especially effective). Behaviors applied to a replicator or a cell can be applied to each element of the pattern. This lets you achieve almost limitless variation and complexity that would take hours to animate using keyframes. You can also apply a behavior, such as Vortex, to another object in your project (an object that is not part of the replicator pattern), and have the pattern elements circumnavigate that object. A special behavior called Sequence Replicator allows you to choreograph the parameters of your onscreen elements (their position, scale, and opacity, for example) in a sequential animation. For more information, see Using the Sequence Replicator Behavior. 732 Chapter 15 Using the Replicator Replicators take advantage of Motion’s 3D capabilities. Some replicator shapes are inherently 3D, and others can have points that exist in 3D space. Additionally, behaviors applied to a replicator can pull pattern elements out of a plane. For more information, see Using Replicators in 3D Space. The Difference Between a Replicator and a Particle System Although the replicator and particle systems share many parameters, they are very different tools. Although both use layers (shapes, text, images, and so on) as cell sources and both generate onscreen elements from those sources, each produces a unique effect from those raw materials. A particle system generates dynamic elements that change over time: Particles are born, emerging from an onscreen “emitter”; they move across the Canvas; and they die, according to the “laws of nature” you specify in the parameters of the system. A replicator, however, is not a dynamic simulation. Its elements are not emitted like particles (replicator elements do not have birth rate, life, or speed parameters). The replicator builds a pattern of static copies of a source layer in a shape and arrangement that you specify. Although the replicated elements you see onscreen are static by default, the replicator parameters can be animated. For example, you can designate a simple star shape as the source of your onscreen pattern and then replicate the star multiple times along the outline of a circle. By keyframing a few parameters of your new replicator layer, you can launch the stars into animated orbit around the center of the circle, making them change color as they whirl. Anatomy of a Replicator All replicators begin with a source layer: the layer in your project that is duplicated and arrayed onscreen in a pattern. When you replicate a layer, two new layers appear in the Layers list: • A replicator layer that controls the onscreen pattern as a whole • A cell layer that controls the individual elements in the pattern The following sections explain the differences between replicators, cells, and the source objects on which cells are based. Chapter 15 Using the Replicator 733 Replicators and Cells After a layer is replicated, a replicator cell appears underneath its parent replicator in the Layers list and Timeline. This cell layer is named for the source object. At the same time, the source object itself is disabled but remains in its original position in the Layers list. Cell Replicator Replicated source layer (now disabled) Additional cells can be added to the replicator by dragging another source object from the Layers list into the Replicator layer, as shown in the image below. 734 Chapter 15 Using the Replicator When you drag the source object over the Replicator layer (while continuing to hold down the mouse button), a drop menu appears. This menu gives you options to add the object as a replicator cell or as a mask to the replicator. For more information, see Applying Masks to Replicators. The replicator and its cell (or cells) have separate sets of parameters that control the look of the mosaic pattern you see in the Canvas. Changing the replicator parameters modifies the overall onscreen pattern, allowing you to create rectangular, circular, spiral, and other geometric layouts. Changing the cell parameters affects each element in the onscreen pattern, allowing you to modify attributes such as the angle, color, and scale of the pattern pieces. Chapter 15 Using the Replicator 735 Replicator parameters are dynamic—different parameters appear in the Inspector depending on the layout type you choose in the Shape pop-up menu. For example, when Rectangle is the selected pattern shape, additional parameters appear in the Inspector that allow you to modify the size of the rectangle, the number of rows and columns, and other attributes. When Spiral is the selected shape, parameters appear that allow you to adjust the radius of the spiral, the number of twists and arms, the number of points per arm (the locations on the shape where the elements sit), and other attributes. Further, different parameters are also available depending on the selected arrangement for the shape. Very different looks can be achieved by changing only a few parameters. After replicators are modified, you can save them in the Library for later use. For information on saving custom replicators to the Library, see Saving Custom Replicators to the Library. Replicator Source Objects Any image-based layer in Motion can be replicated (used as a cell source), including shapes, text, images, image sequences, and clips. 736 Chapter 15 Using the Replicator Note: Replicators themselves, particle emitters, lights, cameras, and rigs cannot be replicated. Transformations that you apply to the source are respected in the replicator cells. For example, if you use a rotated rectangle shape as the replicator source layer, the replicated elements in the Canvas appear rotated. If the source layer has applied filters, the effects of the filters are retained in the elements of the replicator pattern. Note: Replicating a movie, especially with applied filters, adversely impacts your computer’s processing performance. For better performance, output your sequence with the filter applied, then import it and use the movie as a replicator source. Creating Graphics and Animated Clips for a Replicator Creating a replicator from scratch begins with adding or designing the graphic you want to replicate. The guidelines for creating source layers for a particle system also apply to creating sources for the replicator. For more information, see Creating Graphics and Animations for Particle Systems. Getting Started with the Replicator Although you can use the numerous replicator controls to create complex, intricate animated patterns, the easiest way to add a replicator to your project is to apply a premade replicator from the Library. Using the Replicator Library Presets The easiest way to add a replicator to your project is to use a replicator preset from the Library. Presets can be tailored to better suit your specific project. For information on replicating your own objects, see Creating a Simple Custom Replicator Pattern. To use a replicator from the Library 1 Select the group you want to add the replicator to. 2 In the Library, select the Replicators category. The Replicators category is divided into subcategories, such as Mattes, Transitional, Backgrounds, and so on. 3 Select a subcategory, then select a replicator object, such as Curved Drops (in the Miscellaneous subcategory). Chapter 15 Using the Replicator 737 A preview appears in the preview area. Note: If the preview does not start playing, position the pointer over the preview and click the play button. 4 After you select a replicator preset, do one of the following: • Click Apply in the preview area to add the replicator to the center of the Canvas. • Drag the replicator to the Canvas. • Drag the replicator to a group in the Layers list or Timeline layers list. • Drag the replicator to the track area of the Timeline or to the mini-Timeline. As you drag, a tooltip displays the current frame number. The replicator preset appears in the project, composited above objects below it in the Layers list. After you add a replicator preset from the Library, it acts exactly as it appeared in the preview area. If necessary, modify the replicator parameters in the HUD or in the Replicator Inspector. You can also replace the preset source with one of your own images, clips, shapes, or text layers. Note: You can only modify a replicator after it’s been added to a project. To replace a replicator preset’s source image 1 In the File Browser or Library, select the file you want to use as the replacement graphic for the replicator preset, then add it to the project. 2 In the Layers list, drag the object to the replicator cell you want to replace. Note: If the cell layer is not visible, click the disclosure triangle next to the replicator layer. 3 When the pointer becomes a curved arrow, release the mouse button. The original source object is replaced with the new object. Creating a Simple Custom Replicator Pattern Creating a custom replicator pattern begins by selecting a layer in your project to use as a source for the cells, then replicating that layer. By default, a nonanimated, filled rectangular pattern is created from the source. You can then modify the replicator parameters to suit your project needs. 738 Chapter 15 Using the Replicator To create a pattern from a source layer 1 Place an object to replicate into your project. This example uses a bird graphic from the Content folder in the Library. 2 Select the object, then do one of the following: • In the toolbar, click the Replicate button. • Choose Object > Replicate (or press L). When a layer is replicated, the following occurs: • The replicator layer (labeled “Replicator”) appears in the Layers list and is selected. • A duplicate of the original layer (the bird shape) becomes the replicator cell. • The original source layer (the bird shape) is disabled. Chapter 15 Using the Replicator 739 Note: Changes made to the original source layer, such as opacity or shearing, are respected in the pattern after the replicator is created. • In the Canvas, the default rectangle pattern appears, centered in the same location as the source object. • In the toolbar, the Adjust Item tool is selected so you can immediately begin using the replicator’s onscreen controls. Adjust Item tool When the Adjust Item tool is selected, dragging the pattern’s onscreen controls (the bounding box) resizes the replicator. Dragging in the Canvas (not over the bounding box outline) repositions the replicator object as a whole. • The Replicator HUD appears. Note: If you have hidden the HUD, press D. Removing a Replicator You can remove a replicator from the Layers list or Timeline. To remove a replicator µ Select the replicator, then press Delete. The original source layer or layers remain in the project. Using Multiple Source Layers for the Replicator When using the replicator, you can create a single pattern with multiple elements by placing more than one cell inside a single replicator. 740 Chapter 15 Using the Replicator You can add multiple sources to a single replicator. Each source becomes a cell in the replicator, and each cell has its own set of parameters. When you select a replicator cell in the Layers list or Timeline, its parameters appear in the Replicator Cell Inspector. To use multiple source layers for a replicator pattern 1 In the Layers list or Timeline, Shift-click to select the layers to replicate. This example uses two graphics from the Content folder in the Library. Note: Command-click to select noncontiguous layers to add to the replicator. 2 Do one of the following: • In the toolbar, click the Replicate button. • Choose Object > Replicate (or press L). The cells of the default rectangle replicator pattern are created from the source layers (which are deselected so they do not appear in the composition). Chapter 15 Using the Replicator 741 When multiple cells create a replicator pattern, the elements appear at the same points on the pattern. The replicator is positioned at the average of the source’s positions. The elements in the pattern are stacked according to their order in the Layers list and Timeline. To change the stacking order of the layers, drag the lower cell above the upper cell in the Layers list. To individually control element opacity in a replicator with more than one source Do one of the following: µ Select the cell in the Layers list, then adjust the Opacity tag in the gradient editor in the Replicator Cell Inspector (or change Color Mode to Colorize and adjust the Opacity parameter in the Color controls). µ Select the original source layer—not the replicator cell—and change its opacity in its HUD or Properties Inspector. Removing a Source Layer from a Replicator In the Layers list or Timeline, you can remove a cell from a replicator that contains multiple cells. To remove a cell from a replicator µ In the Layers list or Timeline, select the cell to remove, then press Delete. The original source layers remain in the project. Basic Replicator Parameters in the HUD When a replicator is created from a source layer, the pattern is built using the default parameters in the Replicator Inspector. You can change these defaults by adjusting the parameters in the Replicator Inspector. You can also use the Replicator HUD to easily change the most important parameters to suit your needs. 742 Chapter 15 Using the Replicator To display the Replicator HUD µ In the Layers list or Timeline, select the replicator. The HUD appears. If it does not appear, press D or F7. Replicator HUD Controls The Replicator HUD contains frequently used controls necessary to modify the shape and arrangement of the replicator. These parameters are a subset of the parameters found in the Replicator Inspector. The HUD also provides quick access to the Opacity and Blend Mode parameters, located in the Properties Inspector. When a replicator and the 3D Transform tool (in the toolbar) are selected, additional transform parameters become available in the HUD. For more information on using the HUD’s 3D transform controls, see 3D Transform Tools. Chapter 15 Using the Replicator 743 Important: The controls in the Replicator HUD are dynamic—they appear depending on what is selected from the Shape pop-up menu and the Arrangement pop-up menu (which is itself dynamic, invoking additional parameters). The Opacity, Blend Mode, and Shape parameters always appear in the Replicator HUD. For a discussion of all replicator parameters, see Advanced Replicator Controls. Opacity: Defines the opacity of the replicator pattern as a whole. If a replicator contains multiple cells, this setting affects the opacity of all pattern elements. For information on controlling the opacity of the elements in a replicator with more than one source, see Using Multiple Source Layers for the Replicator. Blend Mode: A pop-up menu that defines the blend mode of the replicator. Changing this setting affects the pattern as a whole according to the layers composited beneath it in the Layers list—it does not affect the interaction of elements stacked on one another in the replicator. To affect the blending of elements in a pattern, you can enable Additive Blend in the Replicator Inspector. Note: For more information on blend modes, see Blend Modes. Shape: A pop-up menu that defines the shape of the replicator. Shape options include Line, Rectangle, Circle, Burst, Spiral, Wave, Geometry, Image, Box, and Sphere. Note: The Box and Sphere options are available when the 3D checkbox is selected in the Replicator Inspector. Replicator Shape set to Rectangle (default) Replicator Shape set to Circle (Arrangement set to Outline) Replicator Shape set to Spiral 744 Chapter 15 Using the Replicator Arrangement: A pop-up menu that defines the layout of the elements in the replicator pattern. When the Shape parameter is set to the default Rectangle setting, the default arrangement is Tile Fill. The Arrangement parameter is available when Shape is set to Rectangle, Circle, Image, Box, or Sphere. Arrangement set to Tile Fill (default) Arrangement set to Outline Arrangement set to Random Fill Columns: A slider that defines the number of vertical columns in the pattern. Pattern elements are distributed at points along the columns. This parameter is available when the selected shape is closed, such as Rectangle, Circle, or Image, and when Arrangement is set to Tile Fill. It is also available for Box and Sphere when Arrangement is set to Outline. Default number of 5 Columns and 5 Rows Columns set to 3 and Rows set to 7 Rows: A slider that defines the number of horizontal rows in the pattern. This parameter is available when the selected shape is closed, such as Rectangle, Circle, or Image, and when Arrangement is set to Tile Fill. It is also available for Box and Sphere when Arrangement is set to Outline. Origin: A pop-up menu used to specify how elements traverse across the pattern from a point of origin. For example, when you use a Rectangle shape and Origin is set to Left, the elements sweep across the rectangle from left to right. When set to Upper Right, the elements build from the upper-right corner point of the shape to the lower-right corner. This parameter is available when the Arrangement is set to Tile Fill or Random Fill. Chapter 15 Using the Replicator 745 Replicator Cell HUD Controls The Replicator Cell HUD contains frequently used controls necessary to modify the attributes of elements in the replicator pattern. These parameters are a subset of the parameters found in the Cell Controls section of the Replicator Inspector (for replicators with one cell) or in the Replicator Cell Inspector (for replicators with more than one cell). The Replicator Cell HUD contains sliders to adjust the Angle, Angle End, Angle Randomness, Scale, Scale End, and Scale of Randomness parameters. For more information about replicator cell parameters, see Replicator Cell Controls in the Inspector. To view the Replicator Cell HUD, select a replicator cell in the Layers list or Timeline. (If the HUD does not appear, press F7 or D.) Replicators and the Properties Inspector As with any other layer in Motion, a replicator’s properties (such as its position, scale, blend mode, or drop shadow) can be modified in the Properties Inspector or by using the onscreen transform controls. These properties are separate from the replicator parameters in the Replicator and Replicator Cell Inspectors, which control the shape and size of the replicator, as well as all aspects of its pattern and cells. The following sections briefly discuss using replicator-related parameters in the Properties Inspector. For more information on the Properties Inspector, see Parameters in the Properties Inspector. Note: When a replicator cell is selected (as opposed to the replicator, itself), only the Timing controls appear in the Properties Inspector. The Timing controls allow you to adjust the In and Out points of the replicator cell. Important: Some operations performed in the Properties Inspector, such as turning on Crop or Drop Shadow, or the application of some filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. Because all replicators live in groups, rasterization affects how replicators interact with other objects in your project. For more information, see Particles, Replicators, and Rasterization. 746 Chapter 15 Using the Replicator The following sections cover replicator properties that can be adjusted in the Properties Inspector: • Transform Controls • Blending • Lighting (3D Project) • Shadows (3D Project) • Reflection (3D Project) • Drop Shadow • Four Corner • Crop • Timing Transform Controls Because all elements in a replicator are attached to the control points of the replicator pattern, changing the replicator’s position, rotation, scale, shear, or anchor point attributes using the controls in the Properties Inspector changes every element in the replicator. This results in the entire pattern being transformed at once. Modifying the anchor point moves the anchor point for the entire pattern—it does not change the anchor point for the elements in the pattern. Selected replicator Replicator with Shear X value of 12 degrees Note: The Scale parameter resizes the replicator, affecting the size of the pattern elements in X, Y, or Z space. To modify the size of the pattern without changing the size of its elements, use the parameters in the Replicator Inspector. Blending Changes you make to the opacity or blend-mode parameters for a replicator are applied to the replicator as a whole—the replicator pattern is blended into the scene. For more information about blend modes, see Using Blend Modes. For more information about the Preserve Opacity setting, see Preserve Opacity Option. Chapter 15 Using the Replicator 747 Note: In the replicator, pattern elements can be blended additively or normally (by selecting or deselecting the Additive Blend checkbox in the Replicator Inspector). Lighting (3D Project) This parameter group is available only for 3D projects. As with all layers, the Shading pop-up menu (in the Lighting section of the Properties Inspector) must be set to On or Inherited for lights to affect the replicator. For more information on using lights, see Lighting. Note: A 2D or 3D replicator can interact with lights in a 3D project. Shadows (3D Project) This parameter group is available only for 3D projects. The Shadows group determines whether an object casts a shadow if positioned between a light source and another object; whether neighboring objects’ shadows affect the current object; and whether an object blocks light and casts a shadow when the object itself does not appear in the scene. As with all layers, Shadows must be turned on in the Light Inspector for the replicator to cast a shadow. For more information on shadows, see Shadows. Note: This parameter does not affect drop shadows. Reflection (3D Project) This parameter group is available only for 3D projects. The Reflection controls adjust simulated reflectivity based on the object’s shininess, the brightness and proximity of the reflected object, and the angle of view. For more information, see Reflections. Note: The Reflection parameter group is not available for 3D replicators (that is, replicators with the 3D checkbox turned on in the Replicator Inspector). 748 Chapter 15 Using the Replicator Drop Shadow A drop shadow can be applied to a 2D replicator (a replicator with the 3D checkbox turned off in the Replicator Inspector). The drop shadow affects layers composited behind the replicator. If the replicator pattern contains overlapping elements, the shadow does not appear on individual elements. However, when the Drop Shadow parameter is enabled for the source layer (in the Properties Inspector), overlapping pattern elements appear with a drop shadow. For more information on working with drop shadows, see Drop Shadows. Four Corner Available for 2D replicators (replicators with the 3D checkbox turned off in the Replicator parameters), the Four Corner controls in the Properties Inspector allow you to stretch a replicator into polygonal shapes. Move a corner point, leaving the other three corners locked into place. Adjusting the corners of the replicator affects the pattern as a whole. Crop Available for 2D replicators (replicators with the 3D checkbox turned off in the Replicator parameters), the Crop controls in the Properties Inspector allow you to hide portions of a replicator pattern. You can also use the onscreen cropping controls by choosing the Crop tool from the toolbar, then dragging any replicator object’s edges or corners. Timing After you create a replicator, its duration can be as long or short as necessary, regardless of the duration of the original sources used for the pattern cells. The duration of a replicator is defined by the duration of the replicator track in the Timeline. Changing the In or Out points of a replicator in the Properties Inspector, Timeline, or mini-Timeline changes the duration of the replicator. Chapter 15 Using the Replicator 749 Although the duration of source layers has no affect on the replicator, the duration of each cell affects how long the elements created from that cell are visible in the project. You can change a cell’s duration by dragging its In and Out points in the Timeline. In this way, you can adjust the timing that defines when each cell type appears. For example, to create a pattern in which three types of elements appear at different times in the animation, you can offset the cells in the Timeline. In the following image, the crosshair cells appear first. One second later, the drop cells appear. One second after that, the soft circle cells appear. Tip: You can animate the opacity of each cell so it fades in; you do this by keyframing the Opacity parameter in the Replicator or the Replicator Cell Inspector. For more information on adjusting the timing of layers in the Timeline, see Using the Timeline. Using the Replicator Onscreen Controls All replicators can be modified in the Canvas via their onscreen transform controls. Use the Adjust Item tool in the toolbar to move or change the size of the replicator shape. To use the Adjust Item tool 1 Select the replicator to adjust. 2 In the toolbar, choose the Adjust Item tool from the 2D transform tools pop-up menu. 750 Chapter 15 Using the Replicator When the Adjust Item tool is selected, the replicator onscreen controls appear in the Canvas. Dragging the pattern’s shape outline adjusts the size of the replicator shape. For example, if the shape is a spiral or circle, dragging the shape outline changes the Radius parameter value. Dragging inside the shape (but not directly on the outline) repositions the replicator in the Canvas. When the pointer is over the replicator shape line, the line is highlighted. Dragging the shape outline resizes the replicator. Dragging inside the shape (but not directly on the outline) repositions the replicator. Chapter 15 Using the Replicator 751 If the replicator shape is a rectangle, dragging a corner or edge of its bounding box changes the Size parameter value. Depending on which handle you drag, you can constrain the transform to width, height, or depth (in a box-shaped replicator). Or you can drag a corner handle to scale the replicator in multiple dimensions simultaneously. Drag the corner handles to adjust width and height simultaneously. Press Shift to adjust width and height uniformly. Drag the left or right edge of the bounding box to adjust width. 752 Chapter 15 Using the Replicator Drag the top or bottom edge to adjust height. Advanced Replicator Controls The Replicator Inspector gives you control over every aspect of a replicator pattern. This includes parameters for the replicator cell (for replicators with a single cell). To open the Replicator Inspector 1 Select a replicator. 2 In the Inspector, click Replicator. The replicator parameters appear. The contents of the Replicator Inspector are dynamic: different parameters appear depending on the option you choose in the Shape pop-up menu. Also, different parameters appear depending on the option you choose in the Arrangement pop-up menu. The Difference Between Replicator and Replicator Cell Parameters Replicator and replicator cell parameters, though closely related, serve different purposes. Replicator parameters control the overall shape, arrangement, offset, stacking order, build order, and number of elements in the replicator pattern. Replicator cell parameters control the behavior and appearance of the elements in the replicator pattern. For more information, see Displaying Replicator Cell Parameters. Chapter 15 Using the Replicator 753 For a replicator with only one cell (one source layer), the replicator and replicator cell controls appear in the same Replicator Inspector. In this case, you can control every aspect of the replicator using these controls. Replicator Inspector for replicator with a single cell 754 Chapter 15 Using the Replicator In replicators with multiple cells, each cell has its own Replicator Cell Inspector containing all parameters for that cell. Replicator Cell Inspector for replicator with multiple cells To access cell-specific parameters, select a cell in the Layers list or Timeline. Cell selected in Layers list Replicator Controls in the Inspector The controls in the Replicator Inspector give you complete control over every aspect of the pattern created by the selected replicator. This includes the shape upon which the pattern is built and the shape’s related parameters, such as the size of the pattern, how the elements are arranged in the pattern, and so on. Shape: The Shape pop-up menu sets the overall shape of the onscreen replicator pattern. The default setting is Rectangle. Choose any of up to ten shape styles from the menu to alter the distribution of the pattern elements. Chapter 15 Using the Replicator 755 Note: Depending on the item you choose in the Shape pop-up menu, additional controls may appear in the Replicator Inspector. For example, when Rectangle is selected in the Shape pop-up menu, the Outline, Tile Fill, and Random Fill options become available in the Arrangement pop-up menu. These additional controls let you further customize the chosen shape. The Shape pop-up menu contains the following items: • Line: Elements are positioned on a line. In the Inspector, you can set a specific number of points on the line—one element is positioned at every point (including the end points of the line). The Line shape displays additional Start Point, End Point, Points, and Offset parameters. • Rectangle: Elements are positioned in a rectangle along the replicator outline, or in a tile or random fill pattern. When Rectangle is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Rectangle shape displays additional parameters. Rectangle shape with Arrangement set to Outline Rectangle shape with Arrangement set to Tile Fill Rectangle shape with Arrangement set to Random Fill 756 Chapter 15 Using the Replicator • Circle: Elements are positioned in a circle along the replicator outline, or in a tile or random fill pattern. When Circle is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Circle shape displays additional parameters. In the following image, the circle’s Arrangement is set to Outline. • Burst: Elements are positioned in a flare pattern. The Burst shape displays additional Radius, Number of Arms, Points Per Arm, Offset, and Origin parameters in the Replicator Inspector. • Spiral: Elements are positioned in a spiral pattern. The Spiral shape displays additional Radius, Twists, Number of Arms, Points Per Arm, and Offset parameters in the Replicator Inspector. Chapter 15 Using the Replicator 757 • Wave: Elements are positioned on a waveform. The Wave shape displays additional Start and End Point, Amplitude, Frequency, Phase, Damping, Points, and Offset parameters in the Replicator Inspector. • Geometry: Elements are positioned along the edge of a shape, defined by a spline object used as the shape source. The Geometry shape displays additional Shape Source, Points, and Offset parameters in the Replicator Inspector. Cells along the edge of the object defined in the Shape Source image well Object used as the Shape Source For information on using geometry (a shape) as a replicator shape, see Replicator Cell Controls in the Inspector. • Image: Elements appear within an area defined by an image or along its border, depending on what is chosen from the Arrangement pop-up menu. The image may have an alpha channel. If so, the shape of the alpha channel can also be used to define the pattern. When Image is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Image shape displays additional parameters. For information on using an image as a replicator shape, see Using Image and Geometry Objects. 758 Chapter 15 Using the Replicator • Box: This option is available when the 3D checkbox is selected in the Replicator Inspector. Elements are positioned in a three-dimensional cube along the replicator outline, or on its surface in a tile or random fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the rectangle. Drag the front horizontal edge to adjust height; drag the front vertical edge to adjust width; drag a back edge to adjust depth; drag a front corner to simultaneously adjust the width and height. To reposition the replicator, drag in the replicator (but not on an edge or corner point). Depending on the selected Arrangement, the Box shape displays additional parameters. In the following image, the box’s Arrangement is set to Tile. • Sphere: This option is available when the 3D checkbox is selected in the Replicator Inspector. Elements are positioned in a three-dimensional sphere along the replicator outline, or on its surface in a tile or random fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the radius and location of the circle. Drag the outline of the sphere to adjust its radius; drag in the sphere to reposition it in the Canvas. When Sphere is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Sphere shape displays additional parameters. Arrangement: This pop-up menu, available when Shape is set to Rectangle, Circle, Image, Box, or Sphere, specifies the layout of the elements in the selected shape. The arrangement options are: • Outline: Elements are positioned along the edge of the shape. • Tile Fill: Elements are positioned in a tiled pattern of rows and columns in the circle, rectangle, image, box, or sphere pattern. You can specify the number of columns and rows, as well as the Tile Offset. • Random Fill: Elements are positioned randomly from within circle, sphere, rectangle, or box. Size: This slider is available when Shape is set to Rectangle or Box. Click the disclosure triangle to display separate Width, Height, and Depth (for the Box shape) parameters. When Circle is the selected shape, this parameter becomes Radius. Chapter 15 Using the Replicator 759 Note: For projects using the default camera settings and a default Z position for the replicator, the Height is measured in pixels; however, the Width is measured in square pixels. This is done so a shape that is numerically square appears square when “Correct for Aspect Ratio” is selected in the View pop-up menu in the top-right corner of the Canvas. Shape Source: This image well, which becomes available only when Shape is set to Geometry, allows you to load a shape object as the source for the replicator pattern. To set the shape source for the replicator, drag a shape from the Layers list or Timeline to the Shape Source well. Image Source: This image well, which becomes available when the Shape parameter is set to Image, allows you to load an image object as the source for the replicator shape. To set the image source, drag an image from the Layers list or Timeline to the Image Source well. Emission Alpha Cutoff: When the Image Source object contains an alpha channel, this slider defines the minimum opacity value necessary to create an element at that point on the source image. For example, when set to 25%, elements only appear at points where the alpha value of the image is equal to or greater than 25% opacity. The lower the Emission Alpha Cutoff value, the more cells appear. For this parameter to be effective, the alpha channel must have areas of varying transparency. Shape with a feathered edge used as Image Source Emission Alpha Cutoff set to 75% Emission Alpha Cutoff set to 30% Start Point: This parameter is available when Shape is set to Line or Wave. Two value sliders define, in X, Y, and Z coordinates, the first point of the line or wave on which the elements are positioned. Click the disclosure triangle to access the Z Start Point value slider. You can adjust these values in the Canvas using the onscreen controls (with the Adjust Item tool). End Point: This parameter is available when Shape is set to Line or Wave. Two value sliders define, in X, Y, and Z coordinates, the second point of the line or wave on which the elements are positioned. Click the disclosure triangle to access the Z Start Point value slider. You can adjust these values in the Canvas using the onscreen controls (with the Adjust Item tool). 760 Chapter 15 Using the Replicator Amplitude: This slider, available only when Shape is set to Wave, defines half the distance from the highest point to the lowest point in the wave. Higher values result in more extreme waves. Frequency: This slider, available only when Shape is set to Wave, defines the number of waves. The default is value is 1. Default Frequency value (1) Frequency value set to 2 Phase: This slider, available only when Shape is set to Wave. A dial defines the degree of offset of the waves from the start and end points of the path. When set to 0 degrees (default), the wave begins and ends at half the distance from the highest point to the lowest point in the wave. When set to 90 degrees, the wave begins and ends at the highest point in the wave. When set to –90 degrees, the wave begins at the lowest point in the wave. When set to 180 degrees, the waves are the same as 0 degrees, but inverted. Damping: This slider, available only when Shape is set to Wave, progressively diminishes the oscillation of the wave. Positive damping values diminish the wave forward (from left to right); negative values diminish the wave backward (from right to left). Points: When Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Outline or Random Fill, this slider specifies the number of evenly distributed element points along the edge of the shape. Chapter 15 Using the Replicator 761 When Shape is set to Line or Wave, the slider sets the number of evenly distributed element points on the line or wave. When the Adjust Item tool is selected, the points are visible in the Canvas. When Shape is set to Geometry, the slider sets the number of evenly distributed element points around the shape. Offset: When Shape is set to Line or Wave, adjusting this slider moves the elements along the line or wave. When Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Outline, adjusting this slider moves the elements along the edge of the shape. When Shape is set to Geometry, adjusting this slider moves the position of the elements along the edge of the shape. Build Style: This pop-up menu and its options appear depending upon the selected Shape and Arrangement. Build Style specifies the how elements are built over the replicator shape. For Rectangle, Circle, and Image replicator shapes with Arrangement set to Outline, or for a Geometry shape, the Build Style options are: • Clockwise: Places the elements along the shape in a clockwise direction. • Counter Clockwise: Places the elements along the shape in a counterclockwise direction. Build Style set to Clockwise Build Style set to Counter Clockwise 762 Chapter 15 Using the Replicator For Rectangle and Image shapes with Arrangement set to Tile Fill and Origin set to Upper Left, Upper Right, Lower Left, or Lower Right, the Build Style options are: • Across: Builds the elements across the pattern in the direction implied by the Origin parameter. • By Row: Builds the elements over the pattern by row. • By Column: Builds the elements over the pattern by column. For Box shapes with the Arrangement set to Tile Fill and Origin set to Front Upper Left, Front Upper Right, Front Lower Left, Front Lower Right, Back Upper Left, Back Upper Right, Back Lower Left, or Back Lower Right, the Build Style options are: • Across: Builds the elements across the pattern in the direction implied by the Origin parameter. • By Row, Column, Rank: Builds the elements over the pattern by row, column, then rank starting from the Origin. • By Column, Row, Rank: Builds the elements over the pattern by column, row, then rank starting from the Origin. • By Row, Rank, Column: Builds the elements over the pattern by row, rank, then column starting from the Origin. • By Column, Rank, Row: Builds the elements over the pattern by column, rank, then row starting from the Origin. • By Rank, Row, Column: Builds the elements over the pattern by rank, row, then column starting from the Origin. • By Rank, Column, Row: Builds the elements over the pattern by rank, column, then row starting from the Origin. Radius: This slider, available when Shape is set to Burst, Spiral, Circle, or Sphere, defines the size of the selected shape. Chapter 15 Using the Replicator 763 Twists: This slider, available only when Shape is set to Spiral, defines the number of turns in a spiral. The default value is 0.25. When Number of Arms is set to one, a single spiral is created. Spiral with default parameter settings Spiral with Number of Arms set to 1 Number of Arms: This slider, available only when Shape is set to Burst or Spiral, defines the number of branches on which the elements are positioned. The default value is 3. Points Per Arm: This slider, available only when Shape is set to Burst or Spiral, defines the number of element points on each branch of the burst or spiral. When the Adjust Item tool is selected, the points are visible in the Canvas. Columns: This slider, available when Shape is set to Rectangle, Circle, or Image (with Arrangement set to Tile Fill), or when Shape is set to Box or Sphere (with Arrangement set to Outline or Tile Fill), specifies the number of vertical columns (or horizontal element points) on a grid over the selected replicator. In the case of an irregular shape (nonrectangular), points that fall outside the shape are ignored. Rows: This slider, available when the Arrangement parameter is set to Tile Fill, specifies the number of horizontal rows (or vertical element points) on a grid over the selected replicator. In the case of an irregular shape (nonrectangular), points that fall outside the shape are ignored. This control is also available for Box and Sphere when Arrangement is set to Outline or Tile Fill. Ranks: This slider, available when Shape is set to Box (with Arrangement set to Tile Fill or Outline), or Sphere (with Arrangement set to Tile Fill), specifies the number of points in Z space on a grid over the selected replicator. In the case of an irregular shape (nonrectangular), points that fall outside the shape are ignored. 764 Chapter 15 Using the Replicator Tile Offset: This slider, available when Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Tile Fill, specifies the amount (in percentage points) that the elements are offset from the pattern. Values from 0 to 100% offset the rows toward the right, and values from 0 to –100% offset the rows toward the left. A value of 50 or –50% creates a brickwork pattern. Rectangle shape set to Tile Fill Tile Offset set to a value of 20% Origin: This pop-up menu, available when Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Tile Fill or Random Fill, specifies how the elements traverse across the pattern from a point of origin. For example, when set to Left, the elements sweep across the pattern from left to right. When set to Upper Right, the elements traverse from the upper-right corner point of the shape to the lower-right corner. Origin set to Left Origin set to Upper Right The Origin pop-up menu contains the following items: • Upper Left: The elements originate in the upper-left corner of the pattern and end in the lower-right corner. • Upper Right: The elements originate in the upper-right corner of the pattern and end in the lower-left corner. Chapter 15 Using the Replicator 765 • Lower Left: The elements originate in the lower-left corner of the pattern and end in the upper-right corner. • Lower Right: The elements originate in the lower-right corner of the pattern and end in the upper-left corner. • Center: The elements originate in the center of the pattern and move outward. This is the default Origin option. • Left: The elements originate at the left side of the pattern and end at the right side. • Right: The elements originate at the right side of the pattern and end at the left side. • Top: The elements originate at the top of the pattern and end at the bottom. • Bottom: The elements originate at the bottom of the pattern and end at the top. When Circle or Sphere is chosen from the Shape pop-up menu and Arrangement is set to Tile Fill or Random Fill, the Origin options are: • Center: The elements originate in the center of the pattern and build outward. This is the default Origin option. • Edge: The elements originate along the edge of the pattern and build inward. When Box is chosen from the Shape pop-up menu and Arrangement is set to Tile Fill or Random Fill, the Origin options are: • Front Upper Left: The elements originate in the front upper-left corner of the pattern and end in the back lower right. • Front Upper Right: The elements originate in the front upper-right corner of the pattern and end in the back lower left. • Front Lower Left: The elements originate in the front lower-left corner of the pattern and end in the back upper right. • Front Lower Right: The elements originate in the front lower-right corner of the pattern and end in the back upper left. • Back Upper Left: The elements originate in the back upper-left corner of the pattern and end in the front lower right. 766 Chapter 15 Using the Replicator • Back Upper Right: The elements originate in the back upper-right corner of the pattern and end in the front lower left. • Back Lower Left: The elements originate in the back lower-left corner of the pattern and end in the front upper-right. • Back Lower Right: The elements originate in the back lower-right corner of the pattern and end in the front upper-left. • Left: The elements originate at the left side of the pattern and end at the right side. The pattern is identical on each row. • Right: The elements originate at the right side of the pattern and end at the left side. The pattern is identical on each row. • Top: The elements originate at the top of the pattern and end at the bottom. The pattern is identical on each rank. • Bottom: The elements originate at the bottom of the pattern and end at the top. The pattern is identical on each rank. • Front: The elements originate at the front of the pattern and end at the back. The pattern is identical on each column. • Back: The elements originate at the back of the pattern and end at the front. The pattern is identical on each column. Chapter 15 Using the Replicator 767 • Center: The elements originate in the center of the pattern and move outward. This is the default Origin option. • X Axis: The elements originate along the X axis of the pattern and move outward. • Y Axis: The elements originate along the Y axis of the pattern and move outward. • Z Axis: The elements originate along the Z axis of the pattern and move outward. Note: The origin parameter also determines where the Sequence Replicator behavior starts its animation. For more information on the Sequence Replicator behavior, see Using the Sequence Replicator Behavior. Shuffle Order: A checkbox that, when selected, rearranges the order in which the elements appear. When Shuffle Order is selected, the Replicate Seed parameter becomes available. Pattern with Shuffle Order disabled Pattern with Shuffle Order enabled Replicate Seed: This parameter, available when Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Random Fill, modifies the Random Fill pattern. Click the Generate button to set a new random seed number. 768 Chapter 15 Using the Replicator Although the result of the Random Fill option from the Arrangement pop-up menu seems random, it’s deterministic. This means that the random variation in the pattern is created based on the number shown. Unless this seed number is changed, a replicator with the same parameter settings and source object always appears the same. If you don’t like the current random fill, you can change the seed number by typing a new number or clicking Generate. This changes the random calculations performed for that pattern. This parameter is also used to randomize the Shuffle Order parameter. 3D: Select this checkbox to add the Box and Sphere shapes to the Shape pop-up menu. Reverse Stacking: A checkbox that, when selected, inverts the order in which elements are stacked. To see the effect of this parameter, elements must be overlapping. Pattern with Reorder disabled: The element to the right overlaps the next cell to the left. Pattern with Reorder enabled: The element to the left overlaps the next cell to the right. Face Camera: When this checkbox is selected, the pattern elements actively face the camera when the camera or the replicator is rotated. When Face Camera is deselected, the elements face forward in the replicator pattern and appear flat (unless the source layer or pattern elements are rotated in 3D space). Because Motion only supports 2D objects, this option is key to giving 2D objects the appearance of 3D as the camera is animated. Chapter 15 Using the Replicator 769 Note: Because replicator pattern elements are 2D (flat) objects, the pattern elements are not visible when you use the orthogonal camera views, such as Left, Right, and Top (unless the source layer or pattern elements are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to the elements. For more information on using cameras, see Cameras. Box Replicator with Face Camera turned off Box Replicator with Face Camera turned on Displaying Replicator Cell Parameters The replicator cell parameters modify the individual elements in the onscreen pattern. In a replicator with only a single cell, the cell parameters appear in two locations: the lower portion of the Replicator Inspector and the Replicator Cell Inspector. In a replicator with multiple cells, each cell has its own Replicator Cell Inspector that contains all parameters for that cell. To display Cell Controls for a single-cell replicator in the Replicator Inspector 1 In the Layers list, Timeline, or Canvas, select a replicator layer. 2 In the Inspector, open the Replicator pane. The cell parameters appear in the Cell Controls group. To display Cell Controls for a single-cell replicator 1 In the Layers list or Timeline, select a cell (located beneath the replicator layer). 2 In the Inspector, open the Replicator Cell pane. To display Cell Controls for a multi-cell replicator 1 In the Layers list or Timeline, select a cell (located beneath the replicator layer). 2 In the Inspector, open the Replicator Cell pane. Replicator Cell Controls in the Inspector These controls appear at the bottom of the Replicator Inspector (for replicators with a single cell) or in the Replicator Cell Inspector (for replicators with multiple cells). 770 Chapter 15 Using the Replicator Align Angle: When this checkbox is selected, the replicator elements rotate to match the shape on which they are positioned. This parameter is available for all replicator types except for the following: Rectangle, Circle, Image, Box, and Sphere shapes with Tile Fill or Random Fill. Spiral replicator with Align Angle disabled Spiral replicator with Align Angle enabled Angle: A dial that specifies (in degrees) the rotation of the replicator elements. When the 3D checkbox is selected in the Replicator Inspector, the default dial modifies the Z angle. To modify the rotation of the pattern elements on all three axes (X, Y, and Z), click the disclosure triangle and adjust the X, Y, and Z dials. When the 3D checkbox is selected, this parameter also displays the Animate pop-up menu. • Animate: A pop-up menu that sets the angle interpolation for keyframed animation of the Angle parameter. There are two choices: • Use Rotation: The default interpolation method. When the Angle parameter is keyframed, pattern elements rotate from their start rotation to their final rotation. Depending on the animation, the elements may twist before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z Angle parameters are animated from 0 degrees to 180 degrees in a project, the elements rotate on all axes before reaching their final orientation. • Use Orientation: This alternate interpolation method provides smoother animation but does not allow multiple revolutions. It interpolates between the pattern elements’ start orientation (first keyframe) and their end orientation (second keyframe). Chapter 15 Using the Replicator 771 Angle End: A dial that specifies (in degrees) the rotation of the replicator elements at the end of the pattern. The angle value of the elements at the end of the pattern equals the Angle value (start) plus the Angle End value. For example, if Angle is set to 0 degrees and Angle End set to 90 degrees, the elements are not rotated at all at their origin, and are rotated by 90 degrees at the end of the pattern. Line replicator (Origin set to Start Point) with Angle value of 0 and Angle End set to 0 Line replicator (Origin set to Start Point) with Angle value of 0 and Angle End set to 90 In a 3D project, using the default dial modifies the Z angle. To modify the rotation of the pattern elements on all three axes (X, Y, and Z), click the disclosure triangle and adjust the individual X, Y, and Z dials. When the 3D checkbox is selected, Angle End also displays the Animate pop-up menu. • Animate: A pop-up menu that sets the angle interpolation for keyframed animation of the Angle parameter. There are two choices: • Use Rotation: This is the default interpolation method. When the Angle End parameter is keyframed, pattern elements rotate from their start rotation to their final rotation. Depending on the animation, the elements may twist before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z Angle parameters are animated from 0 degrees to 180 degrees in a project, the elements rotate on all axes before reaching their final orientation. • Use Orientation: This alternate interpolation method provides smoother animation but does not allow multiple revolutions. It interpolates between the pattern elements’ start orientation (first keyframe) and their end orientation (second keyframe). Angle Randomness: A dial that defines an amount of variance in the rotation of replicator elements. A value of 0 results in no variance—all elements have the same rotational value. A value greater than 0 introduces a variance. The angle for an element is defined by the Angle and Angle End parameter, plus or minus a random value falling within the Angle Randomness. 772 Chapter 15 Using the Replicator In a 3D project, using the default dial or value slider (when the disclosure triangle is closed), modifies the Z angle. To modify the rotation of the pattern elements on all three axes (X, Y, and Z), click the disclosure triangle and adjust the X, Y, and Z dials. When the 3D checkbox is selected, this parameter also displays the Animate pop-up menu. • Animate: A pop-up menu that sets the angle interpolation for keyframed animation of the Angle Randomness parameter. There are two choices: • Use Rotation: This is the default interpolation method. When the Angle Randomness parameter is keyframed, pattern elements rotate from their start rotation to their final rotation. Depending on the animation, the elements may twist before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z Angle parameters are animated from 0 degrees to 180 degrees in a project, the elements rotate on all axes before reaching their final orientation. • Use Orientation: This alternate interpolation method provides smoother animation but does not allow multiple revolutions. It interpolates between the pattern elements’ start orientation (first keyframe) and their end orientation (second keyframe). Additive Blend: By default, replicator elements are composited together using the Normal blend mode. Select this checkbox to composite all overlapping elements using the Additive blend mode. This blending occurs in addition to the compositing method set in the Properties Inspector. The result is that the brightness of overlapping objects is intensified. Color Mode: This pop-up menu specifies the origin of the color for replicated elements There are five menu options: • Original: Elements are created using the original colors from the source layer. When Original is chosen, the Opacity Gradient editor appears, allowing you to change the opacity of the replicator elements over the pattern. • Colorize: Elements are tinted using the color specified in the Color parameter. Additional Color and Opacity Gradient parameters appear. Chapter 15 Using the Replicator 773 • Over Pattern: Elements are tinted based on how they are ordered in the pattern. When Over Pattern is chosen, the Color Gradient editor appears, allowing you to define the range of color of the pattern, beginning with the leftmost color in the gradient, and progressing through the range of colors until reaching the rightmost color at the end of the pattern. Gradual color changes do not appear in each element, but only across the pattern as a whole. An Opacity control is available at the top of the gradient editor. 774 Chapter 15 Using the Replicator • Pick From Color Range: Elements are tinted at random, with the range of possible colors defined by the Color Range gradient editor, which appears when you choose Pick From Color Range. A point on the gradient is randomly chosen, so the relative sizes of each color region determine the frequency of the color being used. For more information on using the gradient controls, see Using the Gradient Editor. • Take Image Color: Each element’s color is based on the color of the image at the position of the element point. This mode is only available when an image in used as the replicator shape. Color: This color well becomes available when the Color Mode is set to Colorize. Use it to specify a color to tint replicator elements. You can also alter each element’s opacity. This parameter is unique to the cell object. You can click the color well to choose a color, or open the disclosure triangle and use the Red, Green, Blue, and Opacity channel sliders or value sliders. Opacity Gradient: This gradient editor appears when Color Mode is set to Original or Colorize. Use it to change the opacity of the replicator elements over the pattern. This gradient control is limited to grayscale values, which are used to represent varying levels of transparency. White represents solid elements; progressively darker levels of gray represent decreasing opacity; and black represents complete transparency. A simple white to black gradient represents a pattern that is solid at its origin, but which fades out gradually. For more information on using gradient and opacity gradient controls, see Using the Gradient Editor. Color Repetitions: When Color Mode is set to Over Pattern, this parameter becomes available. Drag the slider to increase the number of times the gradient is repeated over the pattern. For more information on using gradient controls, see Using the Gradient Editor. Scale: This slider defines the scale of replicator elements. Click the disclosure triangle next to the Scale parameter to reveal separate X Scaling and Y Scaling subparameters that can be used to adjust the width and height of elements separately. By default, Scale is set to 100%—the size of the replicator elements is equal to the size of the source layer. Chapter 15 Using the Replicator 775 Scale End: This slider specifies the scale of the replicator elements at the end of the pattern, relative to the Scale value. For example, if Scale is set to 100% and Scale End set to 50%, the elements are 100% at their origin and half their size at the end of the pattern. Scale Randomness: This slider defines an amount of variance in the scale of replicator elements. A value of 0 results in no variance—all elements in the pattern are the same size. A value greater than 0 introduces a variance. The scale for an element is defined by the Scale parameter, plus or minus a random value falling within the Scale and the Scale End. The disclosure triangle of the Scale Randomness parameter reveals separate X and Y subparameters that can be used to set width and height values separately. Line replicator with Scale set to 100%; Scale End set to 50% Scale Randomness set to 75% Play Frames: This checkbox appears if the replicator is using a QuickTime object as the source for a cell. When this checkbox is selected, playback of the animation or movie clip used for each element will loop. If this checkbox is deselected, the animation or clip is frozen at the still frame specified by the Random Start Frame parameter or the Source Start Frame parameter. Random Start Frame: This checkbox appears if the replicator is using a QuickTime object as the source for a cell. Use this control to introduce variation into elements using QuickTime animation or movies as their source objects. When this checkbox is selected, each element in the pattern begins at a different frame of the clip. Stills are chosen randomly if Play Frames is deselected. Source Start Frame: This slider appears if the replicator is using a QuickTime object as the source for a cell. The value selected in the slider designates the start frame of the clip (when the Play Frames checkbox is selected) or the still frame to display (when Play Frames is deselected). This parameter appears only if Random Start Frame is deselected. 776 Chapter 15 Using the Replicator Source Start Frame Offset: This slider, which appears if the replicator is using a QuickTime object as the source for a cell, and if Random Start Frame is deselected, offsets the start frame chosen in the Source Start Frame parameter over the pattern. At their origin, the elements play the animation from the frame specified in the Source Start Frame parameter. Each step away from the origin advances the start frame by the offset amount. Rectangle replicator shape with Origin set to Top and Source Frame Offset set to 0 When Source Frame Offset is set to 120, the effect of the offset occurs from the origin of the cells. Hold Frames: This slider appears if the replicator is using a QuickTime object as the source for a cell. Hold Frames sets the number of times each frame of the source movie is repeated during playback. The larger the Hold Frames value, the slower your playback. Hold Frames Randomness: This slider, which appears if the replicator is using a QuickTime object as the source for a cell, varies the number of frames to hold. Chapter 15 Using the Replicator 777 Show Objects As: Use this pop-up menu to set the display of replicator elements to a preview mode, or as they actually appear. The nonimage modes play back more efficiently when viewing a complex replicator pattern. By default, this pop-up menu is set to Image, which displays each element as it is supposed to appear. Choose one of the following four options: • Points: Each element is represented by a single point. This is the fastest preview mode. When you choose Points, the Point Size slider appears, allowing you to increase the size of the points for easier viewing. In the following image, the Point Size is set to 8. • Lines: This option is effective only when the elements of the replicator are animated using Simulation behaviors or the Throw (Basic Motion) behavior. The movement of each pattern element is represented by a line and is useful in analyzing the vector of each element’s motion. The length of each line is determined by that element’s speed, and the angle of each line equals each element’s direction. In the following image, the replicator elements are animated using the Vortex behavior. Note: Element movement created by the Sequence Replicator behavior or by keyframing the replicator parameters is not displayed. 778 Chapter 15 Using the Replicator • Wireframe: Each pattern element is represented by a bounding box. Because the bounding boxes are good indicators of each element’s orientation in the pattern, this preview mode is useful for evaluating the movements of individual elements. For example, it’s easy to see the angle of rotation for elements that are spinning or following a complex motion path. • Image: This option displays the elements as they are supposed to appear in your final render. Note: Whatever is selected in the Show Objects As pop-up menu appears in your final render. Random Seed: Although the result of adjusting the Angle Randomness, Scale Randomness, Pick From Color Range, Random Start Frame, or Hold Frame Randomness parameters seems random, it’s deterministic. This means that the random variation in the pattern is created based on the number shown in the Random Seed field. Unless this seed number is changed, a replicator with the same parameter settings appears the same. If you don’t like the current random scale or angle, change the seed number by typing a new number the field or by clicking Generate. Object Source: This image well displays a thumbnail of the replicator. To swap out a cell, drag a replacement cell from the Layers list to the Object Source well. In a replicator with multiple cells, each cell appears in a separate image well listed at the bottom of the Replicator Inspector. A checkbox allows you to enable or disable that cell. Chapter 15 Using the Replicator 779 Using Image and Geometry Objects There are two ways that image and geometry objects can be used in a replicator: as a cell source or as a shape source. When used as a cell source, the image or geometry object is replicated to create the repeating elements in the pattern—the tiles in the onscreen mosaic. When used as a shape source, a geometry object (such as a circle or bezier shape) defines the shape of the replicator pattern. In other words, the elements are positioned along the edge of the shape. Note: Image objects cannot be used as a shape source when Geometry is chosen from the Shape pop-up menu. When used as Geometry sources, images (such as stills or clips) and geometry objects can be used to specify the shape of the replicator pattern. The following section describes how to use image and geometry objects as shape sources and element sources. To use an image as the source of the onscreen elements 1 Import the image to use as the source for your repeating elements. 2 Select the image, then do one of the following: • Click the Replicate button in the toolbar. • Choose Object > Replicate (or press L). To use an image as the shape source of the replicator pattern 1 Import the image to use as the pattern shape in an existing replicator. 2 In the Replicator Inspector, choose Image from the Shape pop-up menu. The Image Source well appears in the Inspector and HUD. Image Source well 3 From the Layers list, drag the image to the Image Source well. 780 Chapter 15 Using the Replicator 4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the image appears in the well. Note: The source image in the Layers list is disabled so it is not visible in your project. 5 Choose an option from the Arrangement pop-up menu. To use a geometry shape as the source of the onscreen elements 1 Create or import the geometry object (shape or paint stroke) to use as the source for your repeating elements. 2 Select the geometry object, then do one of the following: • Click the Replicate button in the toolbar. • Choose Object > Replicate (or press L). To use a geometry object as the shape source of the replicator pattern 1 Import (or draw) the shape to use as the pattern shape in an existing replicator. 2 In the Replicator Inspector, select Geometry from the Shape pop-up menu. The Shape Source well appears in the Inspector and HUD. 3 From the Layers list, drag the shape to the Shape Source well. Shape Source well 4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the shape appears in the well and is used as the source for the shape of the replicator. Note: The source image in the Layers list is disabled so it is not visible in your project. Chapter 15 Using the Replicator 781 Using Replicators in 3D Space Two replicator pattern styles in the Shapes pop-up menu have 3D properties: Box and Sphere. The Box and Sphere shape options are available only when the 3D checkbox is selected in the Replicator Inspector. Box and Sphere replicators build a pattern of elements in 3D space. The 2D Rectangle and Circle replicator shapes have columns (in the Y plane) and rows (in the X plane), but Box and Sphere have an additional Ranks parameter, which adds depth to the replicator. Box replicator with 13 columns, 12 rows, and 3 ranks Sphere replicator with 14 columns, 14 rows, and 5 ranks Line and Wave replicator shapes have quasi-3D properties: Their start and end points can be moved into Z space. In the following image, the Z Start Point (yellow end of the pattern) is set to 20 and the Z End Point is –18 (red end of the pattern). Although the Rectangle, Circle, Line, Wave, Image, and Geometry replicators have no inherent 3D parameters, they can be moved and rotated in 3D space. Pattern elements can also be pulled out of their plane when behaviors are applied. The replicator must be a member of a 3D group to be pulled out of the X and Y planes by a behavior. 782 Chapter 15 Using the Replicator The following illustrations demonstrate replicator pattern elements pulled into Z space. In the illustration on the left, the Burst replicator’s Z position is set to 0 and the white circle’s Z position is set to 225. An “Attracted To” Simulation behavior is applied to the replicator, with the white circle set as the target object. As the project plays, as shown in the center illustration, the replicator elements move forward in Z space toward the attractor. In the right illustration, the camera is rotated to look behind the replicator. Under the behavior’s influence, the replicator elements move past their attractor element, and return to their original position. Tip: When working with elements in 3D, you can snap an object back to its original orientation by using the Isolate command. To isolate a group or layer Do one of the following: µ In the Layers list (or Timeline), click the Isolate button. Inactive Isolate button µ Control-click the layer or group, then choose Isolate from the shortcut menu. µ Choose Object > Isolate. Click the Isolate button again to return to your previous view. Note: Clicking a camera’s Isolate button activates that camera’s view. Chapter 15 Using the Replicator 783 Applying Masks to Replicators Masks can be applied to a replicator’s source layer (used as the replicator cell source to create the repeating onscreen elements) or to the replicator itself. The following images show masks applied to the source layer of a replicator. Mask applied to the replicator cell source layer When a masked layer is used as the source for a replicator cell, the mask is respected in the elements that appear onscreen. Original source Circle mask applied to source Masked layer used as replicator source Masks can also be applied to the replicator layer. Mask applied to replicator 784 Chapter 15 Using the Replicator When the mask is applied to a replicator, the entire pattern onscreen becomes masked. Circle mask applied to the replicator Note: Although masks cannot be applied to a 3D replicator, they can be applied to an object used as a pattern source for 3D replicator. For more information on working with masks, see Masking a Layer or Group. Animating Replicator Parameters Most replicator and replicator cell parameters can be animated with keyframing or by using Parameter behaviors. If you animate the replicator’s shape-specific parameters such as Radius, Twists, and Offset (in a Spiral replicator), the pattern on which the elements are built is animated, not the elements themselves. To animate the elements of the pattern, you keyframe the parameters in the Cell Controls group of the Replicator Inspector (or in the Replicator Cell Inspector). Keyframing the replicator parameters (or using Parameter behaviors) animates all elements in the replicator symmetrically. To animate the elements in sequence over time—without creating keyframes—use the Sequence Behavior, described in Using the Sequence Replicator Behavior. To animate the replicator using Basic Motion or Simulation behaviors, see Using Behaviors with Replicators. Important: If you apply a Simulation behavior, or a Throw or Spin behavior, to a replicator with keyframed parameters, some keyframe parameters are ignored. You can also use keyframes to animate the parameters in a replicator’s Properties Inspector. Parameters in the Properties Inspector affect the replicator as a whole, not replicator elements. Chapter 15 Using the Replicator 785 Displaying Replicator Animation Curves in the Keyframe Editor The replicator parameters in the Properties and Replicator Inspectors can be keyframed to create a change in values over time. You can view the resulting keyframe curves in the Keyframe Editor by choosing Animated from the pop-up menu in the top-left corner of the Keyframe Editor. Different parameters (and their keyframe curves) appear in the Keyframe Editor depending on which layer you select in the Layers list: • Select the replicator layer to display animated replicator parameters such as Position and Rotation in the Properties Inspector, or Size or Tile Offset (available when the shape is a rectangle) in the Replicator Inspector. • Select the cell layer to display animated parameters of the Replicator Cell Inspector, such as Angle or Scale. For more information on keyframing parameters in the Keyframe Editor, see Keyframes and Curves. Using the Sequence Replicator Behavior The Sequence Replicator behavior allows you to animate elements of a replicator in sequence over time. This is the only way to animate elements individually—keyframing the cell parameters or applying other behaviors affects all elements in the pattern uniformly. Using the Sequence Replicator behavior, you can select and apply replicator cell parameters such as Position, Color, Scale, Rotation, or Opacity, then animate those parameters in a cascading sequence that passes through each element in a replicator pattern. The starting point for the sequence animation is based on the replicator’s origin or build style. For example, if a spiral replicator’s Origin parameter is set to Center, the sequence animation begins at the center of the spiral and moves outward; if the Origin of a rectangle replicator with a tile fill is set to Upper Left, and the Build Style is set to Across, the sequence begins with the elements in the upper-left corner of the pattern, then moves toward the lower-right corner. The Sequence Replicator behavior can be applied to the replicator object, or to the cells of the replicator. When applied to each cell of a replicator with multiple cells, animations can be created for each cell. 786 Chapter 15 Using the Replicator After you create a Sequence Replicator behavior, you can save the behavior to the Library. To apply the Sequence Replicator behavior to a replicator Do one of the following: µ In the Layers list or Timeline, select the replicator, then choose Replicator > Sequence Replicator from the Add Behavior pop-up menu in the toolbar. µ In the Library, select the Behaviors category and then the Replicator subcategory. Drag the Sequence Replicator behavior from the stack to the replicator in the Layers list, Canvas, or Timeline. The Sequence Replicator controls appear in the Behaviors Inspector. At the top of the Sequence Replicator controls in the Inspector are the Parameter pop-up menus, which are used to add parameters to the behavior, or to remove them after they’ve been added. The added parameters determine which properties are animated. Underneath the Parameter pop-up menus are the Sequence Control parameters, which determine how added parameters affect onscreen elements. These controls include options for setting the direction of the animation, whether the animation is applied per element or to the whole pattern, the number of times the animation cycles through the pattern, and so on. Sequence Control parameters Add or Remove parameters Chapter 15 Using the Replicator 787 Important: Before any sequencing animation can occur, you must add at least one parameter to the behavior in the Inspector and then set a value for that parameter. Until a parameter is added, adjusting the Sequence Controls in the HUD or Inspector has no effect. Adding Parameters to the Sequence Replicator Behavior In the following example, the Rotation, Opacity, and Scale parameters are added to the Sequence Replicator behavior. The behavior is applied to a replicator with its Shape set to Burst and its Origin set to Center. Burst replicator pattern prior to applying Sequence Replicator behavior Replicator source object To add and animate parameters in the Sequence Replicator behavior 1 With the Sequence Replicator behavior selected, display the Behaviors Inspector. 2 In the Parameter row, do the following: a Choose Rotation from the Add Parameter pop-up menu. b Choose Opacity from the Add Parameter pop-up menu. c Choose Scale from the Add Parameter pop-up menu. The added parameters appear above the Add and Remove pop-up menus. No animation occurs until you set a value for the parameters. Play the project (press the Space bar) to see the effects of the sequencing adjustments as they begin to take effect in the next steps. 3 Ensure that Record Animation is turned off (no checkmark appears when you choose Mark > Record Animation, or the Record button in the toolbar is turned off). 4 Set Rotation to the largest (or smallest) value you want the cells to spin in the animation. In this example, Rotation is set to 160 degrees. 788 Chapter 15 Using the Replicator Each element rotates from 0 degrees to 160 degrees over the pattern for the duration of the Sequence Replicator behavior. Note: If the elements are already rotated (in the Cell Controls), the elements are rotated 160 degrees from their original rotation value. Each element rotates and pops into place before the next element begins its animation. To soften this effect, increase the Spread value. 5 Increase the Spread value. In this example, Spread is set to 12. In addition to creating a more graceful animation, changing the Spread value can also dramatically change the appearance of the pattern. 6 Set Opacity to the lowest value you want the elements to become in the animation. In this example, Opacity is set to 0. Chapter 15 Using the Replicator 789 Each element fades from 100% opacity to 0% opacity over the pattern for the duration of the Sequence Replicator behavior. Note: If the elements contain some transparency, they fade from their original opacity value to 0%. 7 Increase the Scale value. In this example, Scale is set to 190%. The animation begins at the original value for any added parameter, then transforms to the value you specify in the Sequence Replicator parameters. The animation begins at the origin of the pattern (set in the Origin or Build Style parameter of the Replicator Inspector or HUD) and moves to the end of the pattern. Adjusting the Sequence Control Parameters After you create a sequence animation, you can use Sequence Control parameters to change the manner in which the sequence moves through the replicator pattern. The following section continues with the project used in the previous example. To change the way the sequence moves through the pattern 1 With the Sequence Replicator behavior selected, display the Behaviors Inspector. 2 Play the project (press the Space bar) to see the effects of the sequencing. 790 Chapter 15 Using the Replicator By default, Sequencing is set to To, which specifies that the animation begins at the original value of the cells and moves to the value set in the Sequence Replicator behavior for that parameter. The starting point for the sequence animation is based on the build or origin of the pattern (as defined in the Origin or Build Style parameters in the Replicator Inspector). In the current example, the elements begin completely opaque, at 100% scale, and with 0 degrees of rotation at the origin of the pattern. As the sequence moves toward the end of the pattern, the elements become completely transparent, are scaled to 190%, and are rotated 160 degrees. 3 In the Sequencing pop-up menu, choose From. The animation moves from the value set in the Sequence Replicator behavior to the original value of the cells. This is the opposite of the To Sequencing option. 4 In the Sequencing pop-up menu, choose Through. The sequence goes through a full animation cycle starting at the original value of the cells, moving to the value set in the Sequence Replicator, then returning to the original value of the cells. This is similar to combining the To and From Sequencing options. 5 From the Unit Size pop-up menu, choose All. Chapter 15 Using the Replicator 791 The sequence animation affects all replicator elements simultaneously. The default is Object, which applies the sequence animation to the elements of the replicator based on the origin of the pattern. Unit Size set to All Unit Size set to Object 6 Increase the Loops value to a minimum value of 3. By default, a sequence animation plays through one time. The value of the Loops parameter defines the number of times the animation repeats over the duration of the replicator object. 7 From the End Condition pop-up menu, choose Ping Pong. By default, the End Condition parameter is set to Hold, which completes a sequence animation cycle, then starts the cycle again from the beginning. When set to Ping Pong, the animation cycles forward one time, then cycles backward, then forward, and so on. Note: The End Condition parameter has no effect for Loop values less than or equal to 1. Sequence Replicator Controls Use the following parameters to modify the sequence animation. Except for the Add and Remove Parameter pop-up menus, these parameters also appear in the Sequence Replicator HUD. Parameter: Use the Add and Remove pop-up menus in the Parameter row to add and remove replicator cell parameters. When you choose an item from the pop-up menu, additional controls appear in the Behaviors Inspector above the Parameter row. You can adjust these controls (or keyframe them) to modify the sequence animation, which is based on the change in value between these parameters and the original values of the cells. The Add pop-up menu items include: • Rotation: Adds a rotation dial and value slider that enables you to Specify (in degrees) the rotation of replicator elements. • Color: Adds a row of color controls that let you specify a tint for replicator elements. You can click the color well to choose a color or open the disclosure triangle and use the Red, Green, and Blue sliders. 792 Chapter 15 Using the Replicator • Opacity: Adds an opacity slider, allowing you to define the transparency of the pattern elements. • Scale: Adds a scale slider that lets you define the size of replicator elements. Click the disclosure triangle next to the Scale slider to reveal separate X scaling and Y scaling subparameters that can be used to adjust the width and height of the cells separately. By default, Scale is set to 100%—the size of the replicator cells is equal to the original size defined in the cell parameters. • Position: Adds two value fields that define the offset of elements from their original position in X and Y space. Click the disclosure triangle next to the parameter name to reveal separate X, Y, and Z position subparameters. For example, to create an animation in which elements move upward in Y over the replicator pattern, enter a positive value in the Y Position field. In the following images, Y Position is set to 300. Sequencing: This pop-up menu specifies how the sequence animation moves through the elements of the pattern, based on the change from the original parameter value to the value set in the Sequence Replicator parameters. The starting point for the sequence animation is based on the selected Origin or Build Style parameters (in the Replicator Inspector). For example, if a line replicator’s Origin parameter is set to End Point, the sequence animation begins at the end of the line and moves toward the start of the line by default. To change the starting point for the sequence animation, change the Origin or Build Style of the pattern in the replicator controls (in the Replicator Inspector or HUD). The Sequencing options are: • To: Specifies that the animation begins at the original value of the cells and moves to the value set in the Sequence Replicator behavior for that parameter. For example, if the original opacity value of a cell is 100%, and opacity is set to 0% in the Sequence Replicator parameters, onscreen elements begin completely opaque and become completely transparent. • From: Specifies that the animation moves from the value set in the Sequence Replicator behavior to the original value of the cells. For example, if the original opacity value of a cell is 100% and opacity is set to 0% in the Sequence Replicator parameters, onscreen elements begin completely transparent and become completely opaque. This is the opposite of the To option in the Sequencing pop-up menu. Chapter 15 Using the Replicator 793 • Through: Specifies that the sequence goes through a full animation cycle starting at the original value of the cells, moves to the value set in the Sequence Replicator, and then returns to the original value of the cells. For example, if the original opacity value of a cell is 100% and opacity is set to 0% in the Sequence Replicator parameters, onscreen elements begin completely opaque, become transparent, and then become completely opaque again. • Through Inverted: Specifies that the sequence goes through an inverted animation cycle starting from the value set in the Sequence Replicator, moves to the original value of the cells, and then returns to the value set in the Sequence Replicator. For example, if the original opacity value of a cell is 100% and opacity is set to 0% in the Sequence Replicator parameters, the onscreen elements begin completely transparent, become opaque, and then become completely transparent. This is the opposite of the Through Sequencing option. • Custom: Allows you to use animation originally created in the source layer’s parameters (except alpha parameters) or to keyframe how the animation moves through the values set in the Sequence Replicator parameters over an element. Each element undergoes the same value sequence. When Custom is chosen from the Sequencing pop-up menu, the Source parameter becomes available. Source parameter becomes available when Sequencing is set to Custom. Source: This pop-up menu becomes available when Custom is chosen from the Sequencing pop-up menu. The Source options are: • Use Source Animation: If the source layer parameters are keyframed (in the Replicator Inspector or HUD), choose this option to enable the animation created by those keyframes. • Ignore Source Animation: If the source layer parameters are keyframed (in the Replicator Inspector or HUD), choose this option to ignore the animation created by those keyframes. 794 Chapter 15 Using the Replicator Unit Size: This pop-up menu specifies whether the sequence animation is applied to the replicator pattern as a whole, to its elements, or to a keyframed range. The Unit Size options are: • Object: Applies the sequence animation over each element as its own entity. Object is the default setting. When Unit Size is set to Object, each replicator pattern cell is affected individually. • All: Applies the sequence animation to all replicator elements simultaneously. When Unit Size is set to All, every replicator pattern cell is affected simultaneously. Chapter 15 Using the Replicator 795 • Custom: Allows you to specify the percentage of elements in the pattern that are affected by the sequence animation at once. Although you can create keyframes for the Custom option, it is not required to affect the sequence. As shown in the following images, the Object and All options allow you to sequence the animation only through the origin or build style of the pattern, or through all pattern elements simultaneously. Unit Size set to All sequences the animation over all cells simultaneously. Unit Size set to Object sequences the animation over the build of the pattern. Custom allows you to define an area of elements—based on percentage—that are affected by the sequence. Unit Size set to Custom allows you to define the percentage of cells affected as the sequence moves through the pattern. When Custom is chosen from the Unit Size pop-up menu, the Start and End parameters become available. Start: This slider, available when Custom is chosen from the Unit Size pop-up menu, specifies the offset of the start of the range of elements affected by the sequence animation as it moves over the replicator pattern. In the above image, Start is set to 10%. 796 Chapter 15 Using the Replicator End: This slider, available when Custom is chosen from the Unit Size pop-up menu, specifies the end of the range of elements affected by the sequence animation as it moves over the replicator pattern. By default, End is set to 10%. In the above image, End is set to 30%. Note: If the Sequencing pop-up menu is set to Custom, the Custom option in the Unit Size parameter has no affect. Spread: This slider controls the amount of falloff of the animation. To create a softer transition between each element, increase the Spread value. Traversal: This pop-up menu sets the action of the sequence behavior to one of the following: • Constant Speed: The sequence animation moves from the origin of the replicator pattern through the end of the pattern at a constant speed. The sequence moves in the direction specified in the replicator parameters, such as the origin or build style. • Ease In: The sequence animation begins slowly and increases to normal speed as it moves through the replicator pattern. • Ease Out: The sequence animation begins at normal speed and slows toward the end of the replicator pattern. • Ease In/Out: The sequence animation begins slowly, increases to normal speed as it moves toward the middle of the duration of the replicator pattern, and slows as it reaches the end of the replicator pattern. • Accelerate: The sequence animation increases in speed. • Decelerate: The sequence animation decreases in speed. • Custom: This option allows you to keyframe how the animation moves through the replicator pattern. When Custom is selected from the Traversal pop-up menu, the Location parameter replaces the Loops parameter. • Location: This slider, available when Custom is chosen from the Traversal pop-up menu, defines the location of the pattern where the animation is in effect. For more information on using the Custom Traversal option, see Using the Sequence Replicator Custom Traversal Option. Loops: This slider sets the number of times the animation sequences through the replicator pattern over its duration. Note: Loops is not available when the Traversal parameter is set to Custom. End Condition: A pop-up menu that sets how the sequence animation is repeated over the duration of the replicator object. This parameter has no effect for Loop values less than or equal to 1. End Condition options are: • Hold: Completes the sequence animation cycle one time, then starts it again from the beginning (after the last element in the sequence completes its animation). Chapter 15 Using the Replicator 797 • Wrap: Treats the sequence animation as a continuous loop so the spread wraps from the last element in the sequence to the first element. • Ping Pong: Completes the sequence animation cycle forward, then completes the animation backward, then forward, and so on. Using the Sequence Replicator Custom Traversal Option When the Traversal parameter in the Sequence Replicator behavior is set to Custom, you can create location keyframes to specify where the effect of the sequence is at a given moment. This allows you to create a sequence animation that travels through a replicator pattern in a unique way. This example shows how to use the Custom Traversal option to scale the elements around a circle replicator shape by creating keyframes. To use the Custom Traversal parameter 1 After the Sequence Replicator behavior is applied to the replicator, add the parameters (in the Behaviors Inspector) you want to include in the sequence. 2 Set the values for the added parameters. In this example, the Scale parameter is added and the Scale value set to 200%. Sequence behavior applied to replicator with Scale parameter set to 200%, Sequencing set to Through, and Spread set to 4 For more information on adding parameters to the Sequence Replicator behavior, see Adding Parameters to the Sequence Replicator Behavior. 3 From the Traversal pop-up menu, choose Custom. The Location parameter becomes available. Use the Location slider to keyframe how the sequence moves through the replicator pattern. 4 Press A to enable keyframe recording. 5 At the frame where you want to begin the animation, drag the Location slider (or use the adjacent value slider) to set where the sequence begins. 798 Chapter 15 Using the Replicator As you drag the slider, the sequence moves through the pattern elements. Values displayed in the Location parameter specify where in the pattern the sequence is (in percentage points)—0 representing the origin of the pattern, and 100% representing the end of the pattern. In the Inspector, a keyframe is added to the Location parameter. 6 Go to the next frame where you want to set a keyframe, and move the Location slider. 7 Repeat step 6 until you create all your keyframes. 8 Play the project (press the Space bar). The animation moves through the replicator pattern based on its keyframed locations. In this case, the scale moves erratically back and forth around the circle, rather than in a constant direction. Using Parameter Behaviors with the Sequence Replicator Behavior Like all other layers in Motion, you can add Parameter behaviors to Sequence Replicator parameters to create even more varied, complex effects without keyframing. To apply a Parameter behavior to a Sequence Replicator behavior 1 In the Layers list or Timeline, select the Sequence Replicator behavior. 2 In the Inspector, Control-click the parameter you want to add a Parameter behavior to, then choose a behavior from the Add Parameter Behavior submenu menu. Note: You can only add a Parameter behavior to parameters that include the Animation menu. The Animation menu appears when you place your mouse at the right side of the parameter row. Chapter 15 Using the Replicator 799 The Parameter behavior is added and appears above the Sequence Replicator behavior in the Behaviors Inspector. A behavior icon appears in the Animation menu of the Sequence Replicator parameter. Behavior icon Note: When the Wriggle or Randomize parameter behavior is added to a Sequence Replicator parameter, the Affect Subobjects checkbox becomes available. Select the checkbox if you want each element in the pattern to display a different random behavior. For more information on using Parameter behaviors, see Parameter Behaviors. Using Behaviors with Replicators As with all layers in Motion, you can apply Basic Motion, Parameter, and Simulation behaviors to a replicator. Some behaviors can be applied directly to replicator cells, such as Throw and Spin (from the Basic Motion subcategory) and Gravity and Edge Collision (from the Simulation category). To apply a behavior to a replicator Do one of the following: µ Drag a behavior from the Library onto a replicator in the Canvas, Layers list, or Timeline. 800 Chapter 15 Using the Replicator µ Select the replicator in the Layers list, Canvas, or Timeline, then choose an item from the Add Behavior pop-up menu. The behavior is applied to the replicator, which begins to move according to the parameters of the behavior. Not all behaviors instantly activate a layer when applied. For example, when a Throw behavior is applied to a layer, the Throw Velocity parameter must be adjusted before the object moves. For more information on behaviors, see Using Behaviors. As previously noted, the replicator also has a special behavior called Sequence Replicator, which allows you to animate individual cells in sequence over time. For more information on the Sequence Replicator behavior, see Using the Sequence Replicator Behavior. For more information on applying Parameter behaviors to the Sequence Replicator behavior, see Using Parameter Behaviors with the Sequence Replicator Behavior. Special Behavior Considerations When Simulation behaviors, as well as the Spin and Throw behaviors, are applied to a replicator that has animated parameters, some animation created by the keyframes is ignored. For example, if the Angle parameter in the Cell Controls of the Replicator Inspector is keyframed so the pattern elements rotate over time and you apply a Spin behavior—with the Affect Subobjects checkbox selected—the elements rotate according to the rate set in the Spin behavior parameters and ignore the replicator’s Angle keyframes. To rotate the entire replicator layer and enable the Angle keyframe animation, deselect Affect Subobjects in the Spin parameters. Chapter 15 Using the Replicator 801 Simulation Behaviors and Keyframes Any Simulation behavior, as well as the Throw and Spin behaviors (in the Basic Motion behaviors category), applied to a replicator disables all animation that affects the position or rotation or the individual elements. To return to any keyframed animation created before you applied the behavior, disable the behaviors. To disable a behavior, deselect its checkbox in the Inspector, Layers list, or Timeline. Spin behavior applied to replicator with Affect Subobjects turned on (the individual elements spin) Spin behavior applied to replicator with Affect Subobjects turned off (the entire replicator pattern spins) Applying Filters to Replicators Filters can be applied to a replicator or its sources. When applied to the replicator, filters affect every element of the replicator pattern. When filters are applied to the source layers of a replicator, the effect of the filter is retained when the layer is replicated. However, filters cannot be applied to individual cells of a replicator. Replicator before any filters are applied Circle Screen filter applied to the source layer for the replicator cells Circle Screen filter applied to the replicator layer For more information on applying filters to layers in your project, see Using Filters. 802 Chapter 15 Using the Replicator Saving Custom Replicators to the Library After you create a replicator you like, you can save it as a replicator preset in the Replicator or Favorites category of the Library for future use. After you place a custom replicator in the Library, it can be used like any other replicator preset. To save a custom replicator to the Library 1 Open the Library and select the Replicators, Favorites, or Favorites Menu category. 2 From the Layers list or Timeline, drag the replicator to save into the stack at the bottom of the Library. Note: For organizational purposes, you may find it useful to create a folder of your own in the Favorites or Favorites Menu category to store replicators. When you save a replicator preset, it’s saved as a file in the /Users/username/Library/Application Support/Motion/Library/Replicators/ (or Favorites or Favorites Menu) folder. You can copy replicator presets you create from this location to give to other Motion users, or you can add replicator presets given to you to this same folder. Note: When you copy a replicator preset file, be sure you also copy graphics or movie files that it uses. Chapter 15 Using the Replicator 803 Although trends in type design change, a balanced use of type and graphics remains the key to achieving the right effect in commercials, documentaries, television and film titles, broadcast logos, corporate presentations, or your own video projects. No matter what style your project requires, Motion provides unique text animation tools that offer immediate results. This chapter covers the following: • About Text in Motion (p. 806) • Setting Motion Preferences for Text (p. 806) • Adding Text (p. 807) • Using Text Tools (p. 819) • About Fonts (p. 820) • Editing Text in the Inspector (p. 823) • Editing Text Format (p. 826) • Finding and Replacing Text (p. 827) • Text Controls in the Format Pane (p. 828) • Basic Formatting Controls (p. 828) • Text Format-Related Tasks (p. 831) • Editing Text Style (p. 833) • Text Controls in the Style Pane (p. 834) • Text Style-Related Tasks (p. 842) 805 Creating and Editing Text 16 • Using and Creating Preset Text Styles (p. 859) • Editing Text Layout (p. 863) • Text Controls in the Layout Pane (p. 864) • Text Layout-Related Tasks (p. 876) • Text Margin and Tab-Related Tasks (p. 884) • Working with Text Glyphs (p. 886) • Adding Behaviors and Filters to Text (p. 892) • Using the Text HUD (p. 893) About Text in Motion Motion lets you add text to your project in the Canvas—select the Text tool, click in the Canvas, then start typing. After you create the text, you can apply text styles, special effects filters, animation behaviors, and keyframes. (For details on animating text, see Animating Text.) You can modify text as a whole object, or as separate glyphs (characters), allowing for endless combinations of effects. After you create a text treatment—a text style with the perfect gradient colors, radiant glow, or customized behavior—you can save the behavior or style in the Library for use on other text treatments, or to use in a future project. Using Text as Particle and Replicator Source Objects Text objects can be used as source cells for particle emitters and replicators to create stunning graphics. If you later modify the source text, Motion updates the replicator and particle system. If the text used as a cell source has applied behaviors or filters, the effect is carried over into the replicator or particle system. For more information about using particle emitters and replicators, see Working with Particles and Using the Replicator. Setting Motion Preferences for Text Before you start a project, set up Motion Preferences according to your project requirements. You can set the layer duration preferences so a layer (the text in this case) is created at the current frame (the frame where the playhead is positioned at the time you add the text). Alternatively, you can specify that a layer is created at the start of the project. By default, layers are created at the current frame. You can also specify a default duration for a created layer. To set layer duration preferences 1 Choose Motion > Preferences (or press Command-Comma). 806 Chapter 16 Creating and Editing Text 2 Click the Project icon. The Project Preferences pane is displayed. 3 In the Still Images & Layers section, set the Default Layer Duration preference: • To create text that is the length of the project, select “Use project duration” (the default setting). This means that if you are working in a 300-frame project and you create text, the duration of the text (in the Timeline) is 300 frames. Note: If Create Layers At is set to “Current frame” and you create text at frame 50, the text spans frame 50 to frame 300. • To create text of a specific duration, select “Use custom duration.” Next, enter a value in the text field, then choose Frames or Seconds from the pop-up menu. All layers you create will span the entered duration. 4 Set the Create Layers At preference: • To create text at the current location of the playhead, select “Current frame.” • To create text at the start of the project, select “Start of project.” With this preference, all text is created at the beginning of the project, regardless of the playhead location. Adding Text In Motion, you create text in the Canvas using the Text tool. After selecting the Text tool in the toolbar, click once in the Canvas and begin typing at the insertion point. Alternatively, you can type text in the Text Inspector, or drag or import a text file into the Motion workspace. After you add text to a project, you can apply filters to create special effects or behaviors or keyframes to animate the text. Adding Basic Text in the Canvas This section describes basic techniques for adding text in the Canvas. For information on adding paragraph text using the Text tool, see Adding Paragraph Text in the Canvas. For information on adding text using the Text editor, see Adding Text with the Text Editor. For information on adding text to your project from an existing text file, see Adding a Text File to a Project. When Create Layers At is set to “Start of project” in the Project Preferences pane, text is created at the first frame of the project. For example, if you are working in a 900-frame project and you add text, the duration of the text is 900 frames. To shorten the duration of the text, shorten the text layer duration in the Timeline or mini-Timeline. For more information, see Using the Timeline. Chapter 16 Creating and Editing Text 807 To add text in the Canvas 1 In the Layers list, select the group to add a text layer to. Note: If no group is selected, the text is added to the last selected group (the group with the underline beneath its name in the Layers list). 2 In the toolbar, click the Text tool (or press T). 3 Click in the Canvas. The cursor flashes in the Canvas at the insertion point. Before you enter text, an empty text object is added to the project and the Text HUD appears. Note: If the HUD does not appear, click the Show HUD button in the toolbar. Empty text layer 4 Enter text. As you type, the following occurs: • The text appears in the Canvas. • The text layer in the Layers list and mini-Timeline are labeled using the first 31 characters you type. 808 Chapter 16 Creating and Editing Text • The same text appears in the track bars of the group and layer in the Timeline. Note: By default, the text layout method (adjustable in the Layout pane of the Text Inspector) is set to Type. The Type layout option creates no right margin. Therefore, if you enter a long string of text, the characters extend on a single line beyond the edge of the Canvas until you create a manual line break (by pressing Return). The Type layout mode is useful when you are working with short strings of text and also when animating horizontal scrolling effects in the Canvas. For information on changing text layout and setting margins, see General Text Controls in the Layout Pane. To see items that extend beyond the edge of the Canvas, choose View > Show Full View Area. 5 When you finish typing, press Esc or click the Select/Transform tool in the toolbar. The text is selected and appears with a bounding box in the Canvas. Important: After you finish typing, press Esc or select another tool on the toolbar—do not use a keyboard shortcut. When the Text tool is selected, typing a keyboard shortcut (other than Esc) adds text to the Canvas. To select text characters Do one of the following: µ Select the Text tool, then drag within the text object in the Canvas. If you don’t begin the drag within a text object, a new text object is created. µ Click between two characters in the Canvas, and then while holding down the Shift key, press the Right Arrow key or the Left Arrow key to select characters. µ Click the Select/Transform tool, then double-click the text in the Canvas. To move the cursor between words µ Click between two characters in the Canvas, then press Option–Right Arrow to move the cursor forward between words; press Option–Left Arrow to move the cursor backward between words. To delete a word µ Click in the Canvas at the end of the word you want to delete, then press Option-Delete. Chapter 16 Creating and Editing Text 809 Adding Paragraph Text in the Canvas While clicking in the Canvas with the Text tool prompts basic text entry, dragging the Text tool in the Canvas activates paragraph-style text entry. Paragraph text is contained within margins that cause the text you type to wrap to the next line. You can adjust the margins of the paragraph to create a column of text as narrow or as wide as you like. To add paragraph text to your project µ With the Text tool selected, drag in the Canvas to draw a custom text entry field. Note: You can create a text entry field with margins that extend beyond the edge of the Canvas. When you release the mouse button, the paragraph text entry field appears in the Canvas. You can begin typing at the flashing insertion point. A ruler appears above the text field, and an empty rectangular column appears on the right side. In the Layout pane of the Text Inspector, the Layout Method pop-up menu is set to Paragraph. Paragraph text entry field When text extends beyond the upper and lower edges of the text entry field, the empty rectangular column becomes a scroll control. 810 Chapter 16 Creating and Editing Text Note: You can also type paragraph text in the Text editor field of the Format pane (in the Text Inspector). For more information, see Adding Text with the Text Editor. Working in the Canvas, you can adjust the margins of the text entry field without affecting the scale of the text. To adjust the width or height of text margins without scaling the text Do one of the following: µ With the Text tool selected, drag a text entry field’s onscreen scale handle. Note: Do not use the Select/Transform tool to resize text margins. When you exit text-entry mode (by pressing Esc or selecting a tool from the toolbar), a standard object bounding box appears around the text. If you resize a text bounding box (by dragging one of its scale handles), the text is resized, not just the width of the bounding box. Chapter 16 Creating and Editing Text 811 µ In the Text Inspector, click the Layout pane and adjust the Left Margin, Right Margin, Top Margin, or Bottom Margin values. Margin controls Note: When text is deleted from a paragraph, the paragraph margins remain in their original locations. 812 Chapter 16 Creating and Editing Text Paragraphs and 3D Space Text can be modified in 3D space. As a camera rotates, the onscreen text entry controls rotate with the text. Although the controls (the ruler, text entry field, and scroll control) appear to change in scale, this is only a perspective shift caused by the movement of the camera. Adding Text with the Text Editor After you add a blank text object to your project (by selecting the Text tool and clicking in the Canvas), you can enter and edit text in the Text editor rather than the Canvas. The Text editor is useful when working with large amounts of text. To enter text in the Text editor 1 Click the Text tool (or press T), then click or drag in the Canvas to create a blank text object. • If you click in the Canvas, you activate the default layout method (Type), which requires that you insert manual line breaks (by pressing Return) to make text wrap to a new line. • If you drag in the Canvas, you activate the Paragraph layout method, which wraps text into a column. 2 In the Text Inspector, click Format to open the Format pane. Chapter 16 Creating and Editing Text 813 3 Click in the Text editor and begin typing. Text Entry area You can also edit text in the Text editor and use the Mac OS X spelling checker. To edit text using the Text editor 1 In the Layers list, select the text to be edited. Note: You can also select the Text tool (in the toolbar) and click the text to edit in the Canvas. The selected text appears in the Text editor. 814 Chapter 16 Creating and Editing Text 2 Make changes in the Text editor. Changes are reflected in the Canvas. To use the spelling checker in the Text editor Do one of the following: µ Click in the Text editor, then choose an option from the Edit > Spelling and Grammar submenu. µ Control-click in the Text editor, then choose an item from the shortcut menu. When a spelling error is found, the text is highlighted in the Text editor. If the Text tool is active when the spelling is checked, the text is selected in the Canvas. Note: The spelling checker is not available when working with text in the Canvas. Adding a Text File to a Project You can add plain text (TXT) or Rich Text Format (RTF) to a Motion project. After you add a text file, you can edit its content the same way you edit Motion-created text. The appearance (font, size, layout, and so on) of the text imported from an RTF file is preserved; the text appearance in a TXT file is based on the settings in the Motion Text Inspector. Important: Text behaviors such as Tracking, Type On, and sequence behaviors can be added to text from an imported text file. However, the more text characters a behavior must animate, the more performance slows. Note: Some formatting options available in RTF files, such as text wrapping, are not supported in Motion. To add a text file to a project from the File Browser 1 In the File Browser, select the TXT or RTF file you want to use. 2 Do one of the following: • Drag the file to the Canvas, Layers list, or Timeline. • Click the Import button in the preview area of the File Browser. The text is added to the project and can be modified. To add a text file to a project using the Import command 1 Choose File > Import. 2 In the Import Files dialog, select the TXT or RTF file to import, then click Import. The text is added to the project and can be modified. About TXT Files When you add a TXT file to a project, the following occurs: • The text is formatted based on the settings in the Text Inspector. Chapter 16 Creating and Editing Text 815 • The Layout Method (in the Layout pane of the Text Inspector) is set to Paragraph. Note: To change the layout of the text, choose another option from the Layout Method pop-up menu. The ruler and scroll controls become available in the Paragraph and Scroll layouts. The scroll control becomes available in the Crawl layout. • The paragraph margins are set to the Safe Zones of the project. (Press the Apostrophe key to turn Safe Zones on and off.) About RTF Files When you add an RTF file to a project, the following occurs: • The formatting of the text (font, style, line spacing, outline, and other styles set in the text editing application) is preserved in the project. • Double-clicking in the text in the Canvas activates the text entry field, which includes a horizontal ruler at the top of the text and a scroll control to the right of the text. • The Layout Method (in the Layout pane of the Text Inspector) is set to Paragraph. • Margins in the original text file are preserved in the project. The size of the onscreen text entry field is determined by the margins set in the application that created the text. In Motion, the margins can be edited onscreen or in the Layout pane of the Text Inspector. For more information on modifying margins, see Editing Margins and Tabs in RTF Files. For more information on the Layout pane, see Editing Text Layout. • Tabs in the original text file are preserved in the project. The tabs appear as white triangles in the ruler above the text entry field. Tabs can be moved or deleted. For more information on modifying tabs, see Editing Margins and Tabs in RTF Files. Editing Margins and Tabs in RTF Files Margins and tabs defined in another application (for example, the one that created the RTF text) can be modified in Motion. For more information about the general use of tabs, see Working with Tabs. To adjust a margin 1 Double-click the text to display the onscreen text entry field, ruler, and scroll control. Note: The Text tool must be selected. If you adjust the text box using the Select/Transform tool, the text is scaled. 2 Do one of the following: • With the Text tool selected, drag a scale handle on the text entry field. • In the Layout pane of the Text Inspector, adjust the Left Margin, Right Margin, Top Margin, or Bottom Margin values. 816 Chapter 16 Creating and Editing Text To move the tabs 1 Double-click the text to display the onscreen text entry field, ruler, and scroll control. Note: The Text tool must be selected for the ruler and tabs to appear in the Canvas. 2 Do one of the following: • In the Canvas, drag a tab (the small white triangle) in the ruler. • In the Layout pane of the Text Inspector, use the Tabs controls to adjust the position and layout of the tabs. To remove a tab 1 Double-click in the text to display the onscreen text entry field, ruler, and scroll control. Note: The Text tool must be selected for the ruler and tabs to appear in the Canvas. 2 Drag the tab (the small white triangle) off the ruler and release the mouse button. The tab is removed from the ruler and from the Tabs controls in the Layout pane of the Text Inspector. Copying and Pasting Text from Another Application Text can be copied from another document or browser and pasted into a project. Use the following guidelines when pasting text from another application into Motion: • Pasted RTF text retains the original font attributes, including family and typeface, size, color, outline, and drop shadow. • When pasted, pure black text is converted to white text. • White text copied from Motion is pasted to the clipboard as black text. • Text pasted into an empty text entry field retains the paragraph format, including alignment, justification, and tabs. • Text pasted into an existing text entry field does not retain its original paragraph format. • Paragraphs pasted into a text entry field retain the paragraph format, including alignment, justification, and tabs. Note: A paragraph is defined as a block of text preceded by a carriage return. Text pasted into an existing text entry field does not retain its original paragraph format. However, a paragraph pasted into a text entry field retains its original paragraph format. • If an image is copied with the text, the image is not included when the text is pasted in Motion. • Dynamically numbered lists are not supported. Lists become standard text when pasted. To copy and paste text into a project 1 Open the text document (RTF, TXT, Pages, and so on) in a text-editing application. 2 Select and copy the text. Chapter 16 Creating and Editing Text 817 3 Do one of the following: • In the Motion Toolbar, select the Text tool, click in the Canvas, then choose Edit > Paste (or press Command-V). • In the Format pane of the Text Inspector, click in the Text editor and choose Edit > Paste (or press Command-V). Text as an Object When you create text, it becomes an object in your project. Because text objects share most characteristics of other objects in Motion, you can use the transform tools—Select/Transform, Anchor Point, Distort, Drop Shadow, Four Corner, and Crop—to manipulate a text object (when the Flatten checkbox is selected in the Layout pane of the Text Inspector). These onscreen tools are shortcuts to the Transform controls in the Properties Inspector. To set specific values, or to fine-tune transforms, use the Properties Inspector. Important: Many transform tools are unavailable for text transforms until you select the Flatten checkbox in the Layout pane of the Text Inspector. Similarly, before you can apply a mask to text, you must select the Flatten checkbox in the Text Inspector. For more information on the Properties Inspector and onscreen transform tools, see Parameters in the Properties Inspector. For more information on the Flatten checkbox, see General Text Controls in the Layout Pane. Important: Some operations, as well the application of specific filters or a mask, cause a group to become rasterized. When a group is rasterized, it is converted into a bitmap image. Because all text objects reside in groups, rasterization affects how text interacts with other objects in your project. For more information, see About Rasterization. When you make changes to text using the transform tools or the parameters in the Properties Inspector, modifications are applied to the text as an object rather than as editable text. The controls for editing the text are located in the Text Inspector. Although some object properties are similar to text Style and Format parameters, such as Shear (in the Properties Inspector) and Slant (in the Format pane of the Text Inspector), the object properties are independent of the text format parameters, and vice versa. For example, if you apply a Slant value of 20 in the Format pane of the Text Inspector, a Slant value of 20 is applied to each character in the word, simulating italics. However, if you apply a Shear value of 20 in the Properties Inspector (or via the onscreen controls), a Shear value of 20 is applied to the object as a whole, not to text characters. For information on transforming text using the onscreen transform tools, see Using Text Tools. For general information on using the onscreen controls, see 2D Transform Tools. 818 Chapter 16 Creating and Editing Text In addition to moving text with transform tools, you can move text up and down in the composite in the Layers list and Timeline. Like all other objects in Motion, text can also be copied, pasted, duplicated, and deleted. For more information, see Managing Layers in a Project. Using Text Tools There are two ways to edit a text object: • As with other object in Motion, you can edit text by using the parameters in the Properties Inspector, or by using the onscreen controls. • You can edit the text characters using the Text parameters in the Text Inspector or in the HUD. The following interface tools are used to edit text in Motion: • Toolbar • Text HUDs • Text Inspector This section discusses using the Text tool (in the toolbar) and the Text editor (in the Format pane of the Text Inspector) to create and modify text. Note: When text is selected with the default selection tool, you can use the standard onscreen controls to move and animate the text in the Canvas. Text Tools in the Toolbar The Motion toolbar contains several tools that you can use to manipulate text. • Text tool: Use this tool to create text. Click the Text tool, then click or drag in the Canvas to create a blank text object. If you click in the Canvas, you activate the Type layout method (the default), which requires that you insert manual line breaks (by pressing Return) to make text wrap to a new line. If you drag in the Canvas, you activate the Paragraph layout method, which wraps text into a column. • Select/Transform tool: Use this tool to select and transform text. After you finish typing text, click the Select/Transform tool (or press Esc) to select the text as an object. To select existing text, click the Select/Transform tool, then click the text in the Canvas. Chapter 16 Creating and Editing Text 819 Note: When the Select/Transform tool is active, you can double-click the text to enter text-editing mode. When Motion is in text-editing mode, the Text tool is highlighted in the toolbar. • Transform Glyph tool: Use this tool to select and transform glyphs (individual characters of text objects). After you create text, click the Select/Transform tool and, holding the mouse button down, choose the Transform Glyph tool from the pop-up menu. For more information on editing text glyphs, see Working with Text Glyphs. About Fonts Motion uses supported fonts installed on your Mac OS X system. Mac OS X-supported fonts include OpenType, Type1 (or PostScript), and TrueType. Supported fonts installed on your system appear in the Library, as well as in the Format pane of the Text Inspector. This includes fonts located in the following folders on your computer: • /Library/Fonts/ • /Users/username/Library/Fonts/ For information on installing fonts, see Mac Help in the Finder Help menu. You can preview and apply fonts in the Motion Library or in the Format pane of the Text Inspector. Using the Library Font Preview The Motion Library includes a Fonts category and preview area to browse fonts or change text. For information on previewing and changing fonts in the Text Inspector, see Editing Text Format. Previewing Fonts When you select a font in the Fonts category of the Library, a preview of the font is displayed in the preview area of the Library. To preview a font in the Library 1 In the Library, click the Fonts category. 2 Click the font subcategory to preview. Note: The first subcategory, All Fonts, contains all fonts from the other subcategories. 820 Chapter 16 Creating and Editing Text If you are in list view, the font list appears in the stack. If you are in icon view, font thumbnails appear in the stack. In the images on the following pages, icon view is selected. Icon view List view 3 In the stack, click a font thumbnail or name. The font is displayed in the preview area, with the font name and type. Preview area Font subcategory Stack Chapter 16 Creating and Editing Text 821 Changing Fonts There are two ways to use the Library to change the font of text in the Canvas: dragging a font to a text object in the Canvas or using the Apply button. To change the font by dragging a font to the Canvas 1 In the Library, click the Fonts category and then the font subcategory. 2 Drag a font from the stack onto the text in the Canvas. As you drag the font over the text, a transparent thumbnail of the font appears and the pointer becomes a green add pointer (+). When you release the mouse button, the text is changed to the selected font. To change the font using the Apply button 1 In the Canvas, Layers list, or Timeline, select the text to modify. 2 In the Library, click the Fonts category and then the font subcategory. 3 In the stack, click a font. 822 Chapter 16 Creating and Editing Text 4 In the preview area, click Apply. Apply button The text is changed to the selected font. Navigating the Font List To locate a font by its name in the font stack, type the first letters of the font name. To select a font by typing the first letters of its name 1 Click a font name or thumbnail in the font stack. 2 Quickly type the first two letters of the font name. The font you seek is highlighted in the stack. Note: If you do not type the second letter of the font name quickly, the selection is reset and jumps to the font whose name begins with the second letter entered. To move through the browser fonts in alphabetical order µ Drag the scroll bar on the right side of the stack up or down to move through the fonts. Tip: You can also search for a specific font by clicking the magnifying glass icon at the bottom of the Library and typing the name of the font in the Search field. Only fonts containing the search term appear in the font stack. Editing Text in the Inspector Text controls are located in the Text Inspector. To display the Inspector 1 Select the text. 2 Do one of the following: • Choose Window > Inspector. • Click the “i” button on the HUD. • Press Command-3. If the Text Inspector is not visible, click the Text button underneath the preview area. Chapter 16 Creating and Editing Text 823 The Text Inspector is divided into three subpanes: Format, Style, and Layout. The Format pane contains text basics, such as font, size, and tracking. The Style pane contains text characteristics such as face, outline, and blur. The Layout pane contains text layout controls, such as margins and controls for modifying text on a path. If a text parameter can be animated, moving the pointer over the right side of the parameter row enables the Add Keyframe button and the Animation menu. Animation menu Both controls appear when you move your mouse over that area. Add Keyframe button To reset a parameter to its default settings (including removing keyframes), choose Reset Parameter from the Animation menu. To reset a group of parameters, such as the text Face controls or the Sequence controls of a text behavior, click the reset button in the Inspector. Reset button Note: For parameters with no default setting (including most parameters in the Format and Layout panes), there is no reset button. 824 Chapter 16 Creating and Editing Text Editing Text with Applied Sequence Behaviors Text Sequence behaviors create animations that sequence text style and text format attributes through the text characters. The style attributes include face (fill color), glow, drop shadow, and outline. The format attributes include position, opacity, scale, rotation, tracking, and so on. Although Text Sequence behaviors are presets—the parameters are selected and animated—you can add, remove, or modify any parameter that is available to the Sequence Text behavior. (For in-depth information about applying text behaviors, see Animating Text.) All text behaviors in the Text Sequence behaviors category were created using the default text glow, outline, and drop shadow attributes. For example, for a sequence behavior that incorporates a text glow, the glow color is the default yellow. For a sequence behavior that incorporates a text outline, the outline color is the default red. The controls to change these defaults are located in the Format pane of the Text Inspector. Text Sequence behaviors are based on left-aligned text. Unless you define the text as center-aligned, the characters animate from the left when specific sequence behaviors are applied. To animate the text from its center, change the alignment in the Text HUD or in the Layout pane of the Text Inspector. Use the following methods to modify text attributes when text sequence behaviors are applied. To change the default glow color (yellow) 1 Select the text and open the Style pane of the Text Inspector. 2 In the Glow controls, use the Color well to modify the glow color. For more information on the Glow controls, see Editing Text Glow. For more information on using color wells, see Color Well. To change the default outline color (red) 1 Select the text and open the Style pane of the Text Inspector. 2 In the Outline controls, use the Color well to modify the outline color. For more information on the Outline controls, see Editing Text Outlines. For more information on using color wells, see Color Well. To change the default text alignment (left) µ Select the text, then do one of the following: • In the Format pane of the Text Inspector, choose an option from the Alignment buttons. • In the Text HUD, choose an option from the Alignment buttons. For more information on text format, see Editing Text Format. Chapter 16 Creating and Editing Text 825 Editing Text Format The Format pane of the Text Inspector contains the controls for text basics such as font, typeface, size, kerning, and character rotation. Many Format parameters can be animated (keyframed). For information on the controls in the Format pane, see Basic Formatting Controls. For information on performing tasks using the Format pane controls, see Text Format-Related Tasks. To show the Format pane of the Text Inspector µ In the Text Inspector, click Format. 826 Chapter 16 Creating and Editing Text Finding and Replacing Text The Find and Replace window lets you locate and change a word (or a set of characters) in a Motion project. You can search in a selected text object, or in all text objects. This tool is useful for changes to long-form text objects, such as credit rolls. To use Find and Replace 1 Choose Edit > Find and Replace (or press Command-F). The Find and Replace window appears. 2 In the Find field, enter the text to search for; in the Replace Field enter the replacement text. 3 Select an option from the “Search in” pop-up menu: • To search the selected text, choose Selected Text Object. • To search all text, choose All Text Objects in Project. 4 Do one of the following: • To search for the Find text, press Enter, or click Next; to find the previous occurrence, click Previous. • To replace all occurrences of the Find text, click Replace All. Note: To undo an operation performed in the Find and Replace window, click in the Canvas to make it active, then choose Edit > Undo Text Replace (or press Command-Z). 5 Do one of the following: • To replace the current selection, click Replace. • To replace the current selection and immediately find the next occurrence of the Find text, click Replace & Find. The Find and Replace window contains the following controls: Find: Enter the text to search for in this field. Replace: If performing a find-and-replace operation, enter the replacement text in this field. Search in: Use this pop-up menu to set the type of search operation to be performed. There are two options: • Selected Text Object: Performs the search or search-and-replace operation on only the selected text object. • All Text Objects in Project: Performs the search or search-and-replace operation on all text objects in the project. Match case: Select this checkbox to search for words that match the capitalization of the words entered in the Find field. When this checkbox is not selected, the search ignores capitalization. Chapter 16 Creating and Editing Text 827 Whole words: Select this checkbox to search for whole words. When this checkbox is not selected, the search finds the specified text when it’s contained anywhere within words. Loop search: Select this checkbox to have the search continue from the beginning of the text after reaching the end of the text. When Selected Text Object is chosen from the “Search in” pop-up menu, the search loops back to the beginning of the selected text object. When All Text Objects in Project is chosen from the “Search in” pop-up menu, the search loops back to the first text object in the project. Replace All: Click this button to replace all occurrences of the text in the Find field with the text in the Replace field. If there is no Replace text, this button is not available. Replace: Click this button to replace the text selected in the Canvas or Text Inspector with the text in the Replace field. If no text is selected, this button is not available. Replace & Find: Click this button to replace the text selected in the Canvas or Text Inspector with the text in the Replace field, then find the next instance of the text in the Find field. If no text is selected, this button is not available. Previous/Next: Use these buttons to jump to the previous or next instance of the text entered in the Find field. Text Controls in the Format Pane This section describes the parameters in the Format pane of the Text Inspector. Some parameter groups remain hidden until you expand them by clicking Hide/Show at the right of the group header. To collapse or expand a parameter group µ Click the Hide/Show icon on the right of the group header row. (The icon is not visible until you move the pointer over it.) To reset all parameter group values to their defaults µ Click the reset button on the right side of the group header row. Basic Formatting Controls The following parameter controls affect common formatting adjustments for text objects. Of these parameters, the Family, Typeface, Size, and Tracking also appear in the Text HUD. Basic Formatting Preset (unlabeled): Use this pop-up menu at the top of the Format pane to save the format, style, or format and style of the text to the Library, or to apply a preset text style from the Library to the text. The default menu item is Normal. For more information on applying and saving text styles, see Using and Creating Preset Text Styles. 828 Chapter 16 Creating and Editing Text Collection: Use this pop-up menu to filter the font categories available in the Font pop-up menu. When set to All Fonts, every font installed on your Mac OS X system appears in the Font pop-up menu. Font: Use this pop-up menu to choose the font for the text. Typeface: Use this unlabeled pop-up menu to the right of the Font pop-up menu to set a type style, such as Regular, Bold, Condensed, and so on. The available typefaces are specific to the font family selected in the Font pop-up menu. Size: Use this slider to set the point size of the text. Drag the Size slider left or right to change the size. The slider is constrained to a maximum of 288 points. To create larger text, click the numerical value and drag to the right or type a new number. Drag up or right to increase value beyond default maximum, or click and type a number. Note: You can also scale the text in the Canvas using onscreen controls, but doing so scales text as an object and is independent of setting type point size via the Size slider. Alignment: Use these buttons to set the alignment and justification of text. The alignment choices are Left, Center, Right, Left Justified, Center Justified, Right Justified, and Full Justified. Paragraphs of a text object can be aligned by selecting the text and choosing an alignment option. Vertical Alignment can be applied in addition to horizontal alignment choices. Vertical Alignment: Use these buttons to set the vertical alignment of text. The choices are Top Aligned, Middle Aligned, and Bottom Aligned. The paragraphs of a text object can be aligned by selecting the text and choosing an alignment option. Line Spacing: Use this slider to set the distance between each line of text (leading) in point-size increments. Dragging to the right (above 0) increases the line spacing. Dragging to the left (below 0) creates negative line spacing. Tip: To modify the spacing for individual lines of text when hard returns are present, select the text with the Text tool, then adjust the Line Spacing slider. Spacing is modified on the line that includes the selected text. Tracking: Use this slider to set the spacing between text characters. Tracking applies a uniform value between each character. Kerning: Use this slider to adjust spacing between text characters. Baseline: Use this slider to adjust the baseline of text characters. The baseline is an invisible horizontal line defining the bottom alignment of characters. Chapter 16 Creating and Editing Text 829 Advanced Formatting The Advanced Formatting controls are used less often than Basic Formatting controls. They affect additional aspects of selected text. Scale: Use this slider to scale text characters proportionally. To scale in only X or Y space, click the disclosure triangle to set separate X and Y scale values. In the following image, the text X Scale is set to 50%, and the Y Scale is set to 100%. Disclosure triangle Affects Layout: Use this checkbox to set how the layout of the text on its path is affected by changes in scale. For example, when Affects Layout is deselected and text is on an open spline path (and Wrap Around is deselected in the Layout pane), increases in scale bunch up the text characters along the length of the path; decreases in scale spread the characters out over the length of the path. When Affects Layout is selected, increases in scale extend the text characters beyond the path; decreases in scale bunch up the characters toward their set alignment (left, right, or center). Text on a path prior to scaling Affects Layout checkbox off Affects Layout checkbox on Offset: Use these value sliders to offset the text from its original position (anchor point). Enter a value in the left value slider to offset the text in X space; enter a value in the right value slider to offset the text in Y space. Click the disclosure triangle to access the X, Y, and Z position values. Rotation: Use this dial to rotate the text characters in Z space. Click the disclosure triangle to access separate X, Y, and Z rotation controls and also the Animate pop-up menu. Animate: Use this pop-up menu, available when the Rotation parameter is disclosed, to change the interpolation for animated 3D rotation channels. By default, this parameter is set to Use Rotation. 830 Chapter 16 Creating and Editing Text For more information about the Animate parameter, see Parameters in the Properties Inspector. Note: The Rotation parameter must be keyframed Animate parameter options to have effect. The Animate pop-up menu contains the following options: • Use Rotation: The default interpolation method, whereby text characters rotate from their start rotation to their final rotation. Depending on the animation, the characters may twist before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z Rotation parameters are animated from 0 degrees to 180 degrees in a project, the text characters rotate on all axes before reaching their final orientation. • Use Orientation: This method provides smoother interpolation but does not allow multiple revolutions. This method interpolates between the text characters’ start orientation (first keyframe) and their end orientation (second keyframe). Slant: Use this slider to simulate italics by adding a slant value to text characters. Monospace: Select this checkbox to apply a fixed amount of space between each text character. All Caps: Select this checkbox to make text characters uppercase. All Caps Size: Use this slider, available when the All Caps checkbox is selected, to set the size of uppercase characters based on a percentage of the font point size. Editable in FCP: When using a Motion project as a template in Final Cut Pro X, select this checkbox to allow editing of text parameters in Final Cut Pro. The editable parameters include the following: • Text string (text characters can be modified) • Text size • Text tracking For more information on publishing to Final Cut Pro X, see Creating Templates for Final Cut Pro X. Text Text: Type in the Text editor (the darker shaded area) to add and edit text in the Inspector. For more information, see Adding Text with the Text Editor. Text Format-Related Tasks These tasks are useful when editing text Format parameters, including changing fonts, moving the text insertion point, and adjusting kerning. For information on the controls in the Text Format pane, see Basic Formatting Controls. Chapter 16 Creating and Editing Text 831 To preview fonts in the Canvas 1 Select the text. 2 In the Format pane of the Text Inspector, open the Font pop-up menu. The menu of available fonts opens. 3 Drag the pointer up or down in the menu to preview fonts. As you drag through the menu, the text changes in the Canvas. 4 After you choose a font, release the mouse button. Note: You can also use the wheel of a three-button mouse or a two-finger swipe on a Multi-Touch trackpad to move up and down the menu. To move the text insertion point µ Use the Right Arrow and Left Arrow keys to move the insertion point between adjacent characters. µ To jump to the beginning of a text line, press Command–Left Arrow. µ To jump to the end of a text line, press Command–Right Arrow. µ To jump to the beginning of the word, press Option–Left Arrow. µ To jump to the end of the word, press Option–Right Arrow. µ To move the insertion point through multiple lines of text (of a single text object), use the Up Arrow and Down Arrow keys. To kern text characters 1 In the toolbar, click the Text tool (or press T). 2 In the Canvas, position the insertion point (click the mouse button) between the characters to kern, and do one of the following: • Use the Kerning slider or value field to set a kerning value. • Press Control–Right Arrow to increase the space between characters by one-pixel increments. 832 Chapter 16 Creating and Editing Text • Press Control–Left Arrow to reduce the space between characters by one-pixel increments. Editing Text Style Use the Text Style pane to specify the text fill and to adjust text opacity, softness, and other attributes. Text can be a solid color, an image, or a color gradient. In the Style pane, you can also apply outlines, glows, and drop shadows to text. Most style parameters can be animated. A set of premade text styles is available in the Motion Library. Text styles are modified Style parameters that create a specific look for text, such as a red glow and gradient face, and are applied to text like behaviors and filters. You can create custom text styles and save the styles in the Library. For more information, see Using and Creating Preset Text Styles. There are four groups of controls in the Style pane: Face, Outline, Glow, and Drop Shadow. You can enable or disable a group of style controls by selecting or deselecting the activation checkbox to the left of the group header. (When selected, the checkbox turns blue.) By default, Outline, Glow, and Drop Shadow are deselected. For information on Face controls, see Text Face Controls in the Style Pane. For information on performing tasks using Face controls, see Text Face-Related Tasks. For information on Outline controls, see Text Outline Controls in the Style Pane. For information on performing tasks using Outline controls, see Adding a Text Outline. For information on Glow controls, see Text Glow Controls in the Style Pane. For information on performing tasks using Glow controls, see Adding a Text Glow. For information on Drop Shadow controls, see Text Drop Shadow Controls in the Style Pane. For information on performing tasks using Drop Shadow controls, see Adding a Drop Shadow. Chapter 16 Creating and Editing Text 833 To show the Text Style pane µ In the Text Inspector, click Style. Text Controls in the Style Pane This section describes the parameters in the Style pane of the Text Inspector, which include the Face, Outline, Glow, and Drop Shadow groups. Some parameter groups remain hidden until you expand them by clicking the Hide/Show icon to the right of the group header. To collapse or expand a parameter group µ Click the Hide/Show icon on the right side of the group header row. (The icon is hidden until you move the pointer over it.) To reset parameter group values to their defaults µ Click the reset button on the right side of the group header row. 834 Chapter 16 Creating and Editing Text Note: Resetting parameter groups does not affect the activation checkbox for the group. Text Face Controls in the Style Pane Use the Face parameter controls to specify whether text is a solid color, a color gradient, or a texture. Nearly all Face parameters can be animated. Note: You can distort the fill of text independently of other style parameters. For more information, see Adjusting Glyph Attributes. Preset: Use this pop-up menu above the Face controls to save the format, style, or format and style of the text to the Library, or to apply a preset text style from the Library to the text. The default menu item is Normal. For more information on applying and saving text styles, see Using and Creating Preset Text Styles. Face: Use this activation checkbox to enable or disable all Face parameters (Fill, Color, Opacity, Blur, and Four Corner). Face is selected by default (checkbox is blue). Fill with: Use this pop-up menu to set text fill to Color, Gradient, or Texture. Color/Gradient/Texture: Use these color controls to set the text fill color, gradient, or texture, depending on which item is selected in the “Fill with” pop-up menu. Click the disclosure triangle to adjust additional parameters. For information on editing text color, see Changing the Text Color. For more information on applying a gradient to text, see Applying a Gradient to Text. For more information on using textures, see Text Texture-Related Tasks. Opacity: Use this slider to set the text opacity of text, regardless of the fill option (Color, Gradient, or Texture). For more information on changing text opacity, see Changing Text Opacity. Blur: Use this slider to set the softness of the text, regardless of the fill option. Chapter 16 Creating and Editing Text 835 Four Corner: Use these value sliders to control the position of the face attribute and distort the text characters. In the following illustration, the Four Corner parameter in the Face controls has been modified (but the Four Corner parameter for the red outline has not been modified). Click the disclosure triangle to reveal the following value sliders: • Bottom Left: Offsets the text fill from the lower left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Bottom Right: Offsets the text fill from the lower right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Right: Offsets the text fill from the upper right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Left: Offsets the text fill from the upper left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. Texture Subparameters in the Style Pane When you choose Texture from the “Fill with” pop-up menu, additional parameters appear in the Face group. Use these controls to apply a texture (an image, movie, shape, object, or group) as the fill for text. 836 Chapter 16 Creating and Editing Text For information on using Texture controls, see Text Texture-Related Tasks. Texture parameters respect filters applied to the source image but ignore transforms applied to the image. For example, if the image used as the source texture has a glow filter applied, the glow appears in the text’s texture. However, if the image used as the source texture is scaled or moved, or if the image contains applied behaviors, the result of these transforms does not appear in the applied texture. Texture controls allow you to adjust subparameters. If you use an image sequence or movie as the text’s texture source, you can specify the start frame for the texture, or hold a single frame for the texture. You can also adjust the position of a texture that is applied to text so it is offset in the text but not repositioned in your project. If an image used as a texture is cut off, you can specify the edge behavior of the texture. When “Fill with” is set to Texture, the following Texture parameters become available (open the disclosure triangle to see them): Image: Use this image well to apply a texture source. Drag an image, movie clip, or other object into the well. Chapter 16 Creating and Editing Text 837 Frame: When using a movie or image sequence as the texture source, use this slider to specify a start frame for the texture. Hold Frame: When using a movie or image sequence as the texture source, select the Hold Frame checkbox to freeze the frame specified in the Frame parameter. The selected frame is used as the texture for the text object’s total duration. Offset: Use these value sliders to specify the X and Y values of the position of the source texture (relative to the text object). Wrap Mode: Use this pop-up menu to specify how the edge of a texture is treated when the texture is offset and appears cut off in the text, or when it is too small to fill the text it is applied to. There are three options: • None: The texture remains transparent beyond the edge of the source image. This is the default mode. • Repeat: The texture source is repeated beyond the edge of the source image. • Mirror: Beyond the edge of the source image, the texture source is reflected like in a mirror—duplicated, tiled, and reversed to encompass the full width and height of the text. Text Outline Controls in the Style Pane Use the Outline group of controls to create text outlines. You can change the fill of the outline, as well as its opacity, softness, width, and layer order. Except for Layer Order, all Outline parameters can be animated. Note: You can distort the outline of text independently of other style parameters. For more information, see Adjusting Glyph Attributes. Outline: Use this activation checkbox to enable or disable all Outline parameters. Outline is deselected by default. Fill with: Use this pop-up menu to set the fill for the outline. As with the Face controls, you can set the outline fill to Color, Gradient, or Texture. Color/Gradient/Texture: Use these color controls to set the color, gradient, or texture of the text outline, depending on which item is selected in the “Fill with” pop-up menu. Click the disclosure triangle to adjust additional parameters. 838 Chapter 16 Creating and Editing Text Opacity: Use this slider to set the opacity of the text outline. Blur: Use this slider to set the softness of the text outline. Width: Use this slider to set the thickness of the text outline. Layer Order: Use this pop-up menu to set whether the outline is drawn over or under the text face. Four Corner: Use these value sliders to control the position of the outline attribute, allowing for outline distorting effects. Click the disclosure triangle to reveal the value sliders: • Bottom Left: Offsets the text outline from the lower left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Bottom Right: Offsets the text outline from the lower right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Right: Offsets the text outline from the upper right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Left: Offsets the text outline from the upper left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. Text Glow Controls in the Style Pane Use the Glow group of controls to create a glow in front of or behind text. Except for Layer Order, all Glow parameters can be animated. When the Glow activation checkbox is selected, the text is rasterized. For more information, see About Rasterization. Chapter 16 Creating and Editing Text 839 Note: You can distort the glow of text independently of other style parameters. For more information, see Adjusting Glyph Attributes. Glow: Use this activation checkbox to enable or disable glow parameters in this group. Glow is disabled by default. Fill with: Use this pop-up menu to set the fill for the glow. As with the Face and Outline controls, you can set the glow fill to Color, Gradient, or Texture. Color/Gradient/Texture: Use these color controls to set the color, gradient, or texture of the glow effect. Click the disclosure triangle to adjust additional parameters. Opacity: Use this slider to set the opacity of the text glow. Blur: Use this slider to set the softness of the text glow. Radius: Use this slider to set the circumference of the glow. Scale: Use this slider to set the size of the glow. Offset: Use these value sliders to offset the glow in the X or Y position. Layer Order: Use this pop-up menu to specify whether the glow is drawn over or under the text face. Four Corner: Use these value sliders to control the position of the glow attribute, allowing for glow distorting effects. Click the disclosure triangle to reveal the value sliders: • Bottom Left: Offsets the text glow from the lower left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Bottom Right: Offsets the text glow from the lower right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. 840 Chapter 16 Creating and Editing Text • Top Right: Offsets the text glow from the upper right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Left: Offsets the text glow from the upper left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. Text Drop Shadow Controls in the Style Pane Use the Drop Shadow controls to create a drop shadow on text, and to adjust the shadow color, opacity, offset from the text object, softness, and angle. All Drop Shadow parameters can be animated. Drop Shadow: Use this activation checkbox to enable or disable the drop shadow effect. Drop Shadow is deselected by default. Note: When the Flatten checkbox is selected in the Layout pane of the Text Inspector, additional Drop Shadow controls appear in the Properties Inspector. Drop Shadow controls in the Properties Inspector are independent of the controls in the Text Inspector. Enabling Drop Shadow in both locations adds to the existing shadow. Fill with: Use this pop-up menu to set the fill for the shadow. As with the Face, Outline, and Glow controls, you can set the shadow fill to Color, Gradient, or Texture. Color/Gradient/Texture: Use these color controls to set the color, gradient, or texture of the shadow. Click the disclosure triangle to adjust additional parameters. Opacity: Use this slider to set the opacity of the text shadow. Blur: Use this slider to set the softness of the text shadow. Scale: Use this slider to set the size of the shadow. Distance: Use this slider to specify the offset of the text shadow. Angle: Use this dial to set the angle (or direction) of the drop shadow. Chapter 16 Creating and Editing Text 841 Fixed Source: Select this checkbox to make the drop shadow behave as if cast by a fixed light source, regardless of camera or text movement. Four Corner: Use these value sliders to control the position of the drop shadow attribute. This allows for outline distorting effects. Click the disclosure triangle to reveal the value sliders: • Bottom Left: Offsets the text drop shadow from the lower left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Bottom Right: Offsets the text drop shadow from the lower right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Right: Offsets the text drop shadow from the upper right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Left: Offsets the text drop shadow from the upper left of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. Text Style-Related Tasks The tasks described in this section are useful when you are editing text Style parameters: • Text Face-Related Tasks • Text Texture-Related Tasks • Adding a Text Outline • Adding a Text Glow • Adding a Drop Shadow Text Face-Related Tasks These tasks are useful when editing text Face parameters, including glyph style attributes, text color, text gradient and texture fills, and text opacity and softness. For information on using the Texture option in the Face controls, see Text Texture-Related Tasks. 842 Chapter 16 Creating and Editing Text Changing a Style Attribute for a Single Text Character The style attributes (face color, outline, glow, and drop shadow) for text characters (glyphs) can be individually defined. To change a style attribute of a glyph 1 Select the Text tool in the toolbar, then drag in the Canvas to select the glyph to modify. 2 In the Style pane of the Text Inspector, modify an attribute. Only the selected text character is affected. Note: You can also modify the style attributes of a glyph with the Transform Glyph tool. For more information, see Working with Text Glyphs. Changing the Text Color You can change text color using the Colors window, the color well in the Text HUD, or the color well in the Style pane of the Text Inspector. Note: To adjust individual color channels, you must use the Style pane of the Text Inspector. To set the text color in the HUD 1 Select the text with the Select/Transform tool. 2 If the HUD is not displayed, press F7 (or D). 3 Click the color well, then use the Colors window to set the text color. Note: There are many ways to choose a color using the Color parameter. For a complete list, see step 4 in the next section, which describes choosing a color in the Inspector. The text is dynamically updated as you select a color. Chapter 16 Creating and Editing Text 843 Note: To select a color from the Canvas (or anything on the desktop), click the color picker in the Colors window, position the picker over the color you want to select, then click. Color picker To set the text color in the Inspector 1 Select the text. 2 Open the Style pane of the Text Inspector. 3 In the “Fill with” pop-up menu, ensure that Color is selected. 4 Do one of the following: • Click the color well, then use the Colors window to set the text color. Color well 844 Chapter 16 Creating and Editing Text • Click the downward arrow to the right of the color well (or Control-click the color well), then click in the pop-up color palette to select a color. Drag in the lower palette to set the color to a grayscale color. New color Click here to select a grayscale color. Original color • Click the eyedropper tool to the right of the Color well, then click a color in the Canvas. • In the Inspector, click the Color disclosure triangle to show the color channel parameters, and then use the sliders or value sliders to adjust each color channel. Disclosure triangle Chapter 16 Creating and Editing Text 845 Applying a Gradient to Text In the Inspector, you can apply a gradient fill to text. The gradient can be customized and animated in the Gradient editor. For general information about working with gradients, see Using the Gradient Editor. Note: Text gradient controls are similar to gradient controls for shapes, particles, and replicators, with a few exceptions. For example, text gradient controls include a dial to specify the direction of a linear gradient. The shape gradient controls include Start and End settings to specify the direction of a linear gradient. For more information on working with gradients and shapes, see Using Shapes, Masks, and Paint Strokes. Like preset text styles from the Library, preset gradients from the Library can be applied to text. Gradient presets are located in the Gradients category of the Library. A custom gradient that you apply to text can also be saved in the Library for use in future projects. To apply a text gradient 1 Select the text. 2 In the Text Inspector, click Style. The Style pane opens. 3 Choose Gradient from the “Fill with” pop-up menu. In the Inspector, the Color controls are replaced with the Gradient editor. The default gradient is white and blue (Atlantic Blue). “Fill with” pop-up menu is set to Gradient. In the Canvas, the default gradient is applied to the text. 846 Chapter 16 Creating and Editing Text Applying a Preset Gradient to Text There are two ways to apply a preset (or saved) gradient from the Library to text. The first method is to use the Gradient preset pop-up menu in the Text Inspector. The second method is to drag a gradient from the Library to text. To apply a preset gradient in the Text Inspector 1 Select the text and make sure the "Fill with” pop-up menu is set to Gradient. 2 Choose a preset from the Gradient preset pop-up menu (on the right side of the Gradient row). Gradient preset pop-up menu The selected gradient is applied to the text. To apply a preset gradient from the Library 1 In the Library, click the Gradients category. 2 In the stack, select a gradient. Chapter 16 Creating and Editing Text 847 A preview of the selected gradient appears in the preview area. 3 Do one of the following: • Drag the gradient to the text in the Canvas, Layers list, or Timeline. • Make sure the text is selected, then click Apply in the preview area. After the preset gradient is applied to a text object, the preset can be edited with the Gradient editor. For more information, see Using the Gradient Editor. Changing Text Opacity There are several ways to change the opacity of text: • To change the overall opacity of a text object, use the Opacity slider in the HUD or in the Properties Inspector. • To change the opacity of a Style pane parameter, such as Face, Glow, Drop Shadow, or Outline, use the respective Opacity controls in the Style pane of the Text Inspector. 848 Chapter 16 Creating and Editing Text Note: The Opacity parameter in the Properties Inspector and the Opacity parameter in the Style pane of the Text Inspector are separate controls. When both are adjusted for a text object, the effect is multiplicative. In other words, if Opacity is set to 50% in the Properties Inspector and then set to 50% in the Style pane, the resulting opacity for the text is 25%. To set the text opacity in the HUD 1 Select the text using the Select/Transform tool. 2 Press F7 (or D) to display the HUD. 3 Drag the Opacity slider. Text opacity is updated as you drag the slider. The Opacity parameter in the Properties Inspector (not in the Text Style pane) is updated. To set the opacity of text via the Properties Inspector 1 Select the text. 2 Open the Properties Inspector. 3 In the Blending controls, drag the Opacity slider or enter an opacity value in the field. The Opacity parameter in the HUD is updated. To set the opacity in the Style pane of the Text Inspector 1 Select the text. 2 In the Text Inspector, click Style to open the Style pane. 3 In the Face controls, drag the Opacity slider or enter an opacity value in the field. Chapter 16 Creating and Editing Text 849 Changing Text Softness Use the Blur parameter in the Style pane of the Text Inspector to adjust the softness of text. To adjust the softness in the Inspector 1 Select the text. 2 In the Text Inspector, Click Style to open the Style pane. 3 In the Face controls, drag the Blur slider, or enter a blur amount in the value slider. The text softness is updated as you drag the slider. Text Texture-Related Tasks Use the Texture controls in the Style pane to apply and edit texture effects. Using the Texture Image Well Use the Texture image well to apply, replace, and remove textures. To apply a texture to text 1 Select the text. 2 In the Inspector, open the Style pane of the Text Inspector. 3 Choose Texture from the “Fill with” pop-up menu. The Color (or Gradient) controls are replaced with the Texture controls. “Fill with” pop-up menu is set to Texture. Image well By default, no texture is applied to the text. 4 In the Layers list or Media list, drag the image to use for the texture to the Image well. The image appears in the well and is applied to the text. When text is filled with an image, the texture is applied to each text character. To learn how to make the texture continuous through all text characters, see Applying a Continuous Texture to a Text Object. 850 Chapter 16 Creating and Editing Text Important: When dragging an image to the well, be sure to click and drag in one movement. If you click the image and release the mouse button, the image is selected and its Inspector appears. To replace a texture 1 Select the text and display the expanded Texture controls in the Style pane. 2 In the Layers list or Media list, drag an image into the Image well. The new image appears in the well and is applied to the text. Note: When an image (or a movie clip) is replaced in the Layers list or Media list and that image is used as a texture source, the texture for the text is replaced with the new image. To remove a texture Do one of the following: µ Click the Texture parameter reset button. Reset button µ Drag the image out of the well, then release the mouse button. The image disappears. Changing the Position of a Texture You can adjust the position of a texture to fit the needs of your project. To change the position of a texture µ In the Texture controls, do one of the following: • Press Command, then drag in the Image well. The image moves in the well and is offset in the text in the Canvas. • Adjust the Offset values. The left value slider represents X position values; the right value slider represents Y position values. Click the disclosure triangle to display the labeled X and Y value sliders. Chapter 16 Creating and Editing Text 851 Note: You can adjust the position of a texture for a single glyph by selecting the glyph with the Text tool or by using the Transform Glyph tool. For more information on working with glyphs, see Working with Text Glyphs. Animating a Texture You can set keyframes for the offset values of the texture source to create a moving element within text. In the following example, an image of a leopard lying in the grass is used as the texture source for the text “leopard.” Original text layer prior to texture Image used as texture source To animate the texture offset using the Record button 1 Apply a texture to the text. For instructions on how to apply a texture to text, see Using the Texture Image Well. 2 Move the playhead to the frame where you want the texture animation to begin. 3 Enable Record (press A or click the Record button). Note: When Record is enabled, a keyframe is created for any change you make to an object in your project. 4 To position the texture, do one of the following: • Press Command, then drag in the Image well. • Use the Offset value sliders to enter an offset value. 852 Chapter 16 Creating and Editing Text The image within the text moves, and a keyframe is created in the Offset parameters. Text layer with texture applied 5 Move the playhead to the next frame where you want to set a keyframe. 6 Move the texture to the new position. Repositioned text layer texture 7 Disable Record. 8 Go to frame 1 (or the start frame of the animation) and play the clip. The texture offset is animated. Note: You can also use the Animation menu in the Inspector to set keyframes without enabling Record. For more information, see Keyframes and Curves. To animate the texture offset by manually adding a keyframe 1 Apply a texture to the text. For instructions on how to apply a texture to text, see Using the Texture Image Well. 2 Move the playhead to the frame where you want the texture animation to begin. 3 In the Style pane of the Text Inspector, add a keyframe to the “Fill with” parameter or the Offset parameter. Chapter 16 Creating and Editing Text 853 4 To position the texture, do one of the following: • Press Command, then drag in the Image well. • Use the Offset value sliders to enter an offset value. The image within the text moves, and a keyframe is created in the Offset parameters. 5 Move the playhead to the next frame where you want to set a keyframe. 6 Move the texture to the new position. 7 Go to frame 1 (or the start frame of the animation) and play the clip. The texture offset is animated. For more information on the different keyframing methods, see Keyframing Methods. Using an Object Containing Behaviors and Filters as a Texture Source You can use any object (image, movie, image sequence, shape, replicator, particle system, group, or other text object) that has applied behaviors and filters as a texture source for text. The effect of the filters appears in the texture, but animation effects do not appear in the texture. When using an object with an applied filter as a texture source: • To use the object with the effect of the filter, follow the steps in Using the Texture Image Well. • If the object is an image or image sequence, you can use the object without the effect of the filters by dragging the image from the Media list to the Texture Image well, rather than from the Layers list. • To use an object without the effect of the applied filter, make a copy of the layer in the Layers list, remove the filters from the new layer, then turn the layer off. You can then drag the layer from the Layers list to the Image well. When using an object with an applied behavior or active transforms (for example, rotate) as a texture source: • Use the steps in Using the Texture Image Well. The effects of the behavior or transforms are ignored. Applying a Continuous Texture to a Text Object When you apply an image (or any object) as the texture for text, the texture is applied to each text character. To use the image as a continuous texture throughout the text, use the text as a mask. 854 Chapter 16 Creating and Editing Text To use text to mask an image 1 In the Layers list or Canvas, select the object to use as the texture. 2 Choose Object > Add Image Mask (or press Command-Shift-M). A blank image mask layer is added to the image. Chapter 16 Creating and Editing Text 855 3 Drag the text to use as a mask to one of the following: • The Mask Source well in the Image Mask HUD Mask Source well • The Image Mask layer in the Layers list • The Image well in the Image Mask pane of the Inspector The text masks the image. For more information, see Using Shapes, Masks, and Paint Strokes. Adding a Text Outline To create a text outline, select the Outline checkbox in the Style pane of the Text Inspector. To create an outline for text 1 Select the text. 2 In the Text Inspector, click Style to open the Style pane. 3 In the Outline controls, select the Outline checkbox. 856 Chapter 16 Creating and Editing Text The default outline color is red, with a width of one point. Tip: Deselect the Face checkbox to display a text outline with no fill. Editing Text Outlines Use the Outline controls to soften the opacity or blur of a text outline, change the width of an outline, or to set and edit the fill of an outline. For more information about adjusting text outlines using onscreen controls, see Working with Text Glyphs. Note: The Outline fill controls—Color, Gradient, and Texture—are equivalent to the controls for the Face parameters. For information on using these controls, see Text Face Controls in the Style Pane. Adding a Text Glow To create a text glow, select the Glow activation checkbox in the Style pane of the Text Inspector. To create a glow for text 1 Select the text. 2 In the Text Inspector, click Style to open the Style pane. 3 Select the Glow activation checkbox. When selected the checkbox turns blue. The default text glow is yellow, with Scale and Opacity set to 100%, and Radius set to 0. Note: To display only the text glow, deselect the Face parameter activation checkbox (and other active parameters). Chapter 16 Creating and Editing Text 857 Editing Text Glow Use the Glow controls to soften the opacity or blur of the text glow, to change the size of the glow, or to set and edit the fill of a glow. For more information about adjusting text glows using onscreen controls, see Working with Text Glyphs. Note: The Glow “Fill with” options—Color, Gradient, and Texture—are equivalent to the controls for Face parameters. For information on using these controls, see Text Face Controls in the Style Pane. Adding a Drop Shadow To create a text drop shadow, select the Drop Shadow checkbox in the Style pane of the Text Inspector. To add a drop shadow 1 Select the text. 2 In the Text Inspector, click Style to open the Style pane. 3 In the Drop Shadow parameters, select the Drop Shadow checkbox. The default black drop shadow is applied to the text. Adjusting Drop Shadow Parameters Use Drop Shadow controls to change the color or opacity of the shadow and to adjust the softness of the shadow. You can also change the distance the shadow is offset from the text, and adjust its angle. For more information about adjusting text drop shadows using onscreen controls, see Working with Text Glyphs. Note: The Shadow “Fill with” options—Color, Gradient, and Texture—are equivalent to the controls for Face parameters. For information on using these controls, see Text Face Controls in the Style Pane. 858 Chapter 16 Creating and Editing Text Using and Creating Preset Text Styles The Motion Library contains a set of preset text styles that you can apply to text. A text style is a group of Style parameters that are modified and saved in the Library. For example, the Tropical Waters text style includes a gradient fill simulating the colors of a tropical lagoon and a sheer blue-colored glow that is set over the text face, then scaled down and offset. Tropical Waters text style applied to text layer You can also customize and save your own text style or format (or both) in the Library. Applying a Text Style There are two ways to apply a text style to text. The first method is to select a style in the Library. The advantage of using the Library is that you can preview the style before it is applied to text. The second method is to apply the style in the Text Inspector using the Style Preset pop-up menu. This section discusses both methods. To apply a text style from the Library 1 In the Library, select the Text Styles category. Chapter 16 Creating and Editing Text 859 2 Select a style from the stack. 3 Do one of the following: • Select the text, then click the Apply button in the preview area. • Drag the style from the stack to the text object in the Canvas, Layers list, or Timeline. 860 Chapter 16 Creating and Editing Text The text style is applied to the text. To apply a text style from the Text Inspector 1 Select text you want to apply a style to. Chapter 16 Creating and Editing Text 861 2 In the Style pane of the Text Inspector, choose an item from the Preset pop-up menu. Preset pop-up menu The text style is applied to the text. Saving a Custom Text Style After you modify parameters in the Style pane (such as Gradient or Glow) or Format pane (such as Tracking or Slant), you can save the style you create to the Text Styles category in the Library. These custom styles can then be used and applied like preset styles. 862 Chapter 16 Creating and Editing Text Note: Custom presets saved to the Library are stored in /Users/username/Library/Application Support/Motion/Library/Text Styles/. To save a modified text style to the Library 1 Select the text with the modified parameters you want to save as a style. 2 In the Style pane, open the Preset pop-up menu and choose one of the following options: • To save a style with only the Style pane parameters, choose Save Style Attributes. • To save a style with only the Format pane parameters, choose Save Basic Attributes. • To save a style with parameters from both Style and Format panes, choose Save All Basic + Style Attributes. 3 In the Save Preset To Library dialog, enter the name for the preset. 4 Click Save. The custom preset is saved to the Text Styles category in the Library. Custom presets can be identified in the Library by the small user badge that appears in the lower-right corner of the text style icon. Editing Text Layout Use the Layout pane of the Text Inspector to create text on a path, to set direction and rendering options, to add a typewriter effect, and so on. For information on the controls in the Text Layout pane, see Text Controls in the Layout Pane. For information on performing tasks using the Text Layout controls, see Text Layout-Related Tasks. Chapter 16 Creating and Editing Text 863 To show the Text Layout pane µ In the Text Inspector, click Layout. Text Controls in the Layout Pane This section describes the parameters in the Layout pane of the Text Inspector. Some parameter groups remain hidden until you expand them by clicking the Hide/Show icon to the right of the group header. To collapse or expand a parameter group µ Click the Hide/Show icon on the right side of the group header row. (The icon is not visible until you move the pointer over it). To reset all parameter group values to their defaults µ Click the reset button on the right side of the group header row. 864 Chapter 16 Creating and Editing Text Note: Resetting parameter groups does not affect the activation checkbox for the group. General Text Controls in the Layout Pane Use the Text Layout controls in the Layout pane of the Text Inspector to specify general arrangement of your text. These controls allow you to make text flow in a single line, in a paragraph with set margins, or on a path. Layout Controls: This section of the Layout pane contains basic layout options for a text object. • Layout Method: Use this pop-up menu to specify whether the text layout is set to Type, Paragraph, Path, Scroll, or Crawl. Note: When Layout Method is set to Scroll or Crawl, the Transform Glyph tool is not available. The Offset, Rotation, and Affects Layout parameters in the Format pane are also not available. The Layout Method menu has the following options: • Type: Creates a single line of text. This is the default method. As text is added, the string of text continues off the Canvas. If you create multiple lines of text by using hard returns, set Layout Method to Paragraph. This will allow you to use the Margin controls, as well as align text when using tabs. • Paragraph: Makes the Margin controls available in the lower area of the Layout pane. Use the sliders to change margin size. Double-clicking the text in the Canvas when Layout Method is set to Paragraph displays a ruler and scroll control around the text entry field. When text is deleted from a paragraph text entry field, paragraph margins do not scale. For information on modifying or creating a paragraph, see Adding Paragraph Text in the Canvas. • Path: Creates text on a path and makes the Path Options parameter group available. The path can be an open or closed spline, a circle, a rectangle, a wave, or based on a shape. Chapter 16 Creating and Editing Text 865 • Scroll: Positions the margins of the text entry field to match the project’s safe zones in preparation for a scrolling animation. When Layout Method is set to Scroll, double-clicking the text in the Canvas displays a ruler and an enhanced scroll control that displays a preview of the text. Drag in the scroll bar to navigate through large amounts of text. For more information on safe zones, see Zones. Scroll does not animate the text—text is only positioned and formatted in preparation for you to create scrolling animation using keyframes or behaviors. For more information on animating text, see Animating Text. When Layout Method is set to Scroll, the following occurs: The Transform Glyph tool is not available; the Offset, Rotation, and Affects Layout parameters in the Format pane are not available; and the text is flattened, so the Flatten, Render Text, and Face Camera parameters are not available. (For more information, see the Flatten parameter description below.) Drag to scroll through the text. • Crawl: Positions the text in a single string (within project safe zones) along the bottom of the project in preparation for a crawl or ticker-type animation. Double-clicking the text in the Canvas when Layout Method is set to Crawl displays a scroll control below the text entry field. Crawl does not animate the text—text is only positioned and formatted in preparation for you to create an animation using keyframes or behaviors. For more information on animating text, see Animating Text. When Layout Method is set to Scroll, the following occurs: Tabs are not available; the Transform Glyph tool is not available; the Offset, Rotation, and Affects Layout parameters in the Format pane are not available; and the text is flattened. As a result, the Flatten, Render Text, and Face Camera parameters are not available. (For more information, see the Flatten parameter description below.) Drag to scroll through the text. • Direction: Use this pop-up menu to set the direction for the flow of letters. Choose Horizontal or Vertical. 866 Chapter 16 Creating and Editing Text • Auto-Shrink: Use this pop-up menu, available when Layout Method is set to Paragraph, Scroll, or Crawl to change the vertical or horizontal scale of selected letters to ensure the text fits within the margins of the text object. Choose one of the following options: • Off: No scaling occurs. Text exceeding the width or height of the text object extends beyond the visible edges of the screen for scrolling or crawling text, or wraps to the next line for paragraph text. • Left And Right: Scaling occurs at the left and right margins of the text object. This setting is primarily used with scrolling text, to ensure that no characters are cut off. However, it can be applied to other text objects. • Top And Bottom: Scaling occurs at the top and bottom margins of the text object. This setting is primarily used for crawling text, to ensure that no characters are cut off. However, it can be applied to other text objects. • To All Margins: Scaling occurs at the left, right, top, and bottom margins of the text object. • Crop At Margins: Select this checkbox to crop text that extends past the margins of the text object. This control is disabled when Auto-Shrink is enabled. Note: For Crop At Margins to be active, Layout Method must be set to Paragraph, and the text object must be flattened. For more information about flattening text, see Adding Behaviors and Filters to Text. Text Rendering: This group of controls in the Layout pane affects how text objects are displayed in 3D layers. • Flatten: Select this checkbox to force text characters to remain in a 2D plane. In 3D groups, text characters on a path may be influenced by behaviors in ways that interfere with linear alignment. For instance, a simulation behavior might pull nearby text characters out of their plane. When Flatten is selected, the text can still interact with other objects in 3D space, but only as a flattened image, like a card. Unflattened text on a 3D path can weave through other elements in a project. Chapter 16 Creating and Editing Text 867 After you select Flatten, the text characters no longer move in 3D space. Flattened text image only exists in X and Y and can only interact with other objects as a flat card. Use the following guidelines for the Flatten checkbox: • The Flatten checkbox must be selected for text to receive reflections. If the Flatten checkbox is not selected, the Reflections parameter does not appear in the Properties Inspector. For more information on using reflections, see Reflections. • The Flatten checkbox must be selected to use the 2D transform tools in the toolbar (Select/Transform, Anchor Point, Distort, Drop Shadow, Four Corner, and Crop). • The Flatten checkbox must be selected to apply a mask to text. The mask tools in the toolbar are not available when Flatten is deselected. Note: When a text object rotated in Z space is flattened, text that is farther from the camera (further away in Z space) appears smaller. For more information, see Working with Objects Inside 2D Groups and Flattened 3D Groups. • Render Text: Use this pop-up menu to choose a text rendering method. This control is not available when the Flatten checkbox is selected, or when Scroll or Crawl is selected from the Layout Method pop-up menu. The menu choices are: • In Global 3D (Better): Allows text to intersect with objects in the text group and with objects in other groups. When this option is enabled, project performance and interactivity may slow. For text to cast shadows, In Global 3D (Better) must be enabled. For more information on using shadows, see Shadows. • In Local 3D (Faster): Renders text more quickly, but does not allow for intersections with objects in the text group or with objects in other groups, nor does it allow text to cast shadows. • Face Camera: Select this checkbox to force text characters to face the camera, even when the camera is rotated or the text is rotated. This checkbox is not available when the Flatten checkbox is selected (because text cannot face the camera and flatten to the text plane at the same time). 868 Chapter 16 Creating and Editing Text Additionally, this setting is not available when Scroll or Crawl is selected from the Layout Method pop-up menu (because those layout methods cause text to flatten). Note: Because text characters are 2D (flat) objects, text may not be visible when you use orthogonal camera views, such as Left, Right, and Top (unless the text object or characters are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to objects in the Canvas. For more information on using cameras, see Cameras. Behavior Controls: This group of controls in the Layout pane adjusts how a text object is treated when behaviors are applied, based on the position of the text object’s anchor point(s). • Anchor Point: Use this pop-up menu to set the anchor point of text characters, rather than the anchor point of the text object. This allows you to rotate text around by character, word, line, or as a single object. You can rotate the text using the Format pane of the Text Inspector, or by applying a text sequence behavior. To see a visual representation of the anchor point, select the text with the Transform Glyph tool. For more information on the Transform Glyph tool, see Working with Text Glyphs. Note: The anchor point specified in the Layout pane is not the same as the anchor point for the object. Object anchor point controls are available in the Properties Inspector and via the Anchor Point tool in the toolbar. For more information on adjusting the anchor point of an object, see Using the Anchor Point Tool. The Anchor Point pop-up menu has four options: • Character: Rotates each character as if each glyph has its own anchor point. • Word: Rotates each word as if each word has its own anchor point. Chapter 16 Creating and Editing Text 869 • Line: Rotates each line as if individual lines had their own anchor points. • All: Rotates all text as a single object. • Position: Use these value sliders to define the position of the anchor point specified in the Anchor Point pop-up menu. Click the disclosure triangle to display the X, Y, and Z value sliders. To see a visual representation of the anchor point, select the text with the Transform Glyph tool. For more information on the Transform Glyph tool, see Working with Text Glyphs. Type On: This group of controls in the Layout pane allows you to create a type-on effect, similar to a typewriter-style animation. You can keyframe the type-on effect to occur forward or backward, or to move in both directions. Note: There is also a Text Animation behavior called Type On that creates a forward type-on effect without setting keyframes. For more information on using that behavior, see Type On Behavior. The Type On parameter group has the following controls: • Start: Use this slider to set the start point of the type-on effect (from the left side of the text). When set to the default 0%, the text is fully “typed on.” When set to 100%, the text is fully “typed off.” If the value animates from 0 to 100 over time, the text types off from left to right. If the value animates from 100 to 0, the text types on from right to left. • End: Use this slider to set the end point of the type-on effect (from the right side) of the text. When set to the default 100%, the text is fully “typed on.” When set to 0%, the text is fully “typed off.” If the value animates from 100 to 0 over time, the text types off from right to left. If the value animates from 0 to 100, the text types on from left to right. • Fade In: Select this checkbox to cause text characters to fade on or off. When Fade In is deselected, the text characters pop on as they appear. For information on the Motion Path parameters, see Text Path Options in the Layout Pane. 870 Chapter 16 Creating and Editing Text Text Path Options in the Layout Pane This group of controls in the Layout pane lets you specify the initial shape of a text path, and to modify the path and text on that path. This group is only active when the Layout Method pop-up menu at the top of the Layout pane is set to Path. For more information about creating a text path, see Text Layout-Related Tasks. The Transform Glyph tool can be used with text on a path. For more information, see Working with Text Glyphs. Path Shape: Use this pop-up menu to set the shape of the path. Choosing different shapes will cause different controls to appear in the Path Options parameter group. Parameters are described below. There are six menu options: • Open Spline: The default shape, a straight path defined by one point at the beginning and one point at the end of the path. You can work with Bezier or B-Spline control points. Option-click (or double-click) on the path to add points. • Closed Spline: A closed path where the last point is in the same location as the first point. You can use Bezier or B-Spline control points. Option-click (or double-click) on the path to add points. • Circle: A simplified version of Closed Spline, in which the X radius or Y radius can be adjusted to create a circle or an ellipse. • Rectangle: A closed path where the width and the height can be adjusted to create a square or a rectangle. • Wave: A wavy path (a sine wave) defined by one point at the beginning and one point at the end, and controlled by the End Point, Amplitude, Frequency, Phase, and Damping parameters. • Geometry: A shape path where the object travels along the edge of a shape or mask. An animated shape can be used as the text path source—for example, a circle shape with an applied Oscillate Shape behavior. Path Type: Use this pop-up menu, available when Path Shape is set to Open Spline or Closed Spline, to choose how to manipulate the shape of the path: • Bezier: Lets you manipulate the keyframe curve by dragging Bezier handles. For more information about creating and adjusting Bezier curves, see Editing Bezier Control Points. • B-Spline: Lets you manipulate the keyframe curve by dragging B-Spline points. B-Splines are manipulated using points—there are no tangent handles. The points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. B-Splines are extremely smooth: By default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary. For more information about working with B-Spline curves, see Editing B-Spline Control Points. Chapter 16 Creating and Editing Text 871 Radius: Use this slider, available when Circle is the defined path shape, to change the size of the circular path. Click the disclosure triangle to adjust the X radius and Y radius. Note: When the Text tool is selected, you can also use onscreen control points to resize the circle. Press Shift to resize the X and Y radii uniformly. Size: Use this slider, available when Rectangle is the defined path shape, to change the size of the rectangular path. Click the disclosure triangle to adjust the X scale and Y scale. Note: When the Text tool is selected, you can also use onscreen control points to resize the rectangle. Press Shift to resize the X and Y scales uniformly. Start Point: Use these value sliders, available when Wave is selected in the Path Shape pop-up menu, to set the location of the start point on the wave’s path. The left value slider sets the X coordinate of the start point. The right value slider sets the Y coordinate of the start point. The start point can also be adjusted using the wave’s onscreen controls (active by default when the Text tool is selected). End Point: Use these value sliders, available when Wave is selected in the Path Shape pop-up menu, to set the location of the end point on the path. The left value slider sets the X coordinate of the end point. The right value slider sets the Y coordinate of the end point. The end point can also be adjusted using the wave’s onscreen controls (active by default when the Text tool is selected). Amplitude: Use this slider, available when Wave is selected in the Path Shape pop-up menu, to define half the distance from the highest point to the lowest point in the wave. Higher values result in more extreme waves. Frequency: Use this slider, available when Wave is selected in the Path Shape pop-up menu, to set the number of waves. Higher values result in more waves. Phase: Use this dial, available when Wave is selected in the Path Shape pop-up menu, to define the percentage of the offset of the waves from the start and end points of the path. When set to 0% (default), the wave begins and ends at half the distance from the highest point to the lowest point in the wave. When set to 90%, the wave begins and ends at the highest point in the wave. When set to –90%, the wave begins at the lowest point in the wave. When set to 180%, the waves are the same as 0%, but inverted. Damping: Use this value slider, available when Wave is selected in the Path Shape pop-up menu, to progressively diminish the oscillation of the wave. Positive damping values diminish the wave forward (from left to right). Negative values diminish the wave backward (from right to left). Shape Source: Use this image well, available when Geometry is selected in the Path Shape pop-up menu, to define the object (shape or mask) used as the motion path source. To: Use this pop-up menu, available when Geometry is selected in the Path Shape pop-up menu, to choose an object in the project to be used as a shape source for the motion path. 872 Chapter 16 Creating and Editing Text Attach to Shape: Select this checkbox, available when the Path Shape pop-up menu is set to Geometry, to force the motion path to follow the source shape at the shape’s original location. When Attach to Shape is deselected, the motion path can be offset from its source shape (by dragging the shape object to a new location in the Canvas). Note: When Attach to Shape is selected, you cannot drag the shape object to another location. To learn how to use spline objects as a text path source shape, see Using Geometry for a Path Source. Path Offset: Use this slider to set where text begins on the path. Animate this value to move text along a path. At 0%, the first text character is at the left end of the path; at 100%, the first character is at the right end of the path. Wrap Around: Select this checkbox, available when Path Shape is set to Open Spline or Wave (an open path shape), to wrap the text from the end of the path to the first point of the path. Wrap Around is enabled by default. Inside Path: Select this checkbox to shift the baseline of text on a loop path so the text appears inside the loop. Align to Path: Select this checkbox to align the text to the shape of the path. When the checkbox is deselected, text characters align vertically, regardless of the shape of the path. Control Points: Use these value fields, available when Open Spline or Closed Spline is selected from the Path Shape pop-up menu, to adjust the X, Y, and Z coordinates of the control points. Margin Controls in the Layout Pane This group of controls—available when the Layout Method is set to Paragraph, Scroll, or Crawl—sets the size and location of text margins. When a text file is imported into Motion, its margin and tab information is retained in the Motion project. The Layout Method (in the Layout pane of the Text Inspector) for the imported text is set to Paragraph. By default, text created in Motion is set to Type, creating one string of text until you enter a line break. To create columns with tabs or to use margins with text created in Motion, Layout Method (in the Layout pane of the Text Inspector) must be set to Paragraph or Scroll. Chapter 16 Creating and Editing Text 873 There are several ways to create and adjust text margins, including using onscreen controls and the Layout pane in the Text Inspector. You can set a margin for text before or after it is created. Margin controls Layout Method is set to Paragraph. Left, Right, Top, and Bottom Margins: Use these sliders, available when Layout Method is set to Paragraph, Scroll, or Crawl, to define the text margins in the Canvas. For more information on working with margins, see Text Margin and Tab-Related Tasks. 874 Chapter 16 Creating and Editing Text Tab Controls in the Layout Pane Motion allows paragraph-formatted text to contain an unlimited number of tabs to control word spacing in text. By default, text created in Motion has no tabs, so there are no controls in the Tabs section of the Layout pane. Adding, moving, and removing tabs is done in the Canvas. You can also move tabs by modifying their values in the Inspector. When a Rich Text Format (RTF) file is imported, tabs in the RTF file are retained in the Motion project and appear in the Tabs section of the Layout pane. Tabs Tab 0, 1, 2, and so on: Lists the tabs in the paragraph, including their type and positions. • Tab type pop-up menu (unlabeled): Use this pop-up menu to set the tab to Left, Center, Right, or Decimal. • Tab value slider (unlabeled): Use the value slider to adjust the position of the tab. Tabs can also be added, moved, and removed in the Canvas. For more information on working with tabs, see Text Margin and Tab-Related Tasks. Chapter 16 Creating and Editing Text 875 Text Layout-Related Tasks These tasks are useful when editing text Layout parameters, which include working with text on a path and creating a type-on effect. Creating Text on a Path To place text on a path, you create a text object, set the Layout Method to Path, then use the Path Options parameters to modify the text on a path. To create text on a path 1 Select the text to place on a path. 2 In the Layout pane of the Text Inspector, choose Path from the Layout Method pop-up menu. The Path Options parameters become available. 3 Select the Text tool (or press T) and click the text in the Canvas. Important: Step 3 is important—the Text tool must be selected to view or edit the text path. The path appears below the text. The default path shape is set to Open Spline and contains three control points. Working with Text on a Path A Spline text path can be manipulated to move through 3D space. You can change the shape of a text path, add or remove control points, and animate the text along the path. Text on a path can still be edited—you can change text characters or fonts, tracking, kerning, and so on. Text Style parameters can also be modified for text on a path. 876 Chapter 16 Creating and Editing Text Using Behaviors with Text on a Path Text, Simulation, Parameter, and Basic Motion behaviors can be applied to text on a path. This allows for the creation of clever and complex animation. For more information on using Simulation and Parameter behaviors, see Using Other Behaviors with Text. Modifying the Path Shape The Text tool must be selected to view and edit the text path. Use the following procedures to modify the shape of the path. To adjust the text path µ With the Text tool selected, drag a path control point to change the shape of the path. Chapter 16 Creating and Editing Text 877 When additional text characters are added to text that is on a path, the default path may appear too short. In the following images, the first image shows the original text placed on a path. The second image shows additional text. In the second image with the added text characters, the path is shorter than the text. Initial text on path Additional text added To extend a text path µ With the Text tool selected, drag the last control point toward the end of the text. Tip: When dragging, press Shift to constrain the path to a straight line. After you extend a path, add control points for extra control over the shape of the path. To add or modify text path control points µ Option-click or double-click the path to add a control point. Note: Control points can only be added to Open Spline or Closed Spline paths. µ To remove a control point, select the point, then press Delete. You can also Control-click the point, then choose Delete Point from the shortcut menu. µ To create a linear point, Control-click the point, then choose Linear from the shortcut menu. µ To create a smooth (Bezier) point, Control-click the point, then choose Smooth from the shortcut menu. Note: When Path Type is set to B-Spline, the Very Smooth option becomes available in the shortcut menu. µ To lock a point, Control-click the point, then choose Lock Point from the shortcut menu. A locked point cannot be edited. µ To unlock a point, Control-click the point, then choose select Unlock Point from the shortcut menu. Important: Text paths are modified in the same way as shape control points. For complete information, see Using Shapes, Masks, and Paint Strokes. 878 Chapter 16 Creating and Editing Text Note: Clicking any path control point and holding down the mouse button displays the point number (based on the order the points are drawn on the path) and X, Y, and Z coordinates in the status bar. Path control points are also listed by number in the Layout pane of the Text Inspector. To adjust the text path in 3D space 1 If there is no camera in the project, add a camera by doing one of the following: • Click the Add Camera button in the toolbar. • Choose Object > New Camera (or press Command-Option-C). Note: If none of your project groups is set to 3D, a dialog appears asking you if you want to switch your 2D groups to 3D groups. Click Switch to 3D to allow the camera to affect the groups. 2 To change the default camera view (Active Camera) to Top, do one of the following: • Click “Active Camera” in the upper-left corner of the Canvas to open the Camera menu, then choose Top. • Choose View > 3D View > Top. The text is no longer visible because the camera is now looking down perpendicularly (on the Y axis) at the text on a path. The text path and its points are still visible. (The yellow wireframe camera icon in the Canvas represents the Active Camera you added in step 1.) Note: The text path onscreen controls are available for all camera views. This example uses the Top view. 3 With the Text tool selected, drag a control point to adjust the text path in X, Y, or Z space. Note: Manipulating text on a path in 3D space only works when Path Shape is set to Open Spline or Closed Spline. Text on a path in 3D Top view. The right and left control points are set to positive Z values. Chapter 16 Creating and Editing Text 879 Tip: If the path selection disappears, reselect the text layer in the Layers list. Note: To enter values for the control point locations for Open Spline or Closed Spline, click the Control Points disclosure triangle in the Path Options group of the Layout pane. The first value field is X, the second value field is Y, and the third value field is Z. 4 To change the camera view, choose another camera view from the Camera menu in the upper-left corner of the Canvas. Text on a path in Right camera view. 5 To reset the camera view, do one of the following: • Choose Active Camera from the Camera menu. • Choose View > 3D View > Active. Tip: When working with text in a 3D project (especially text that moves close to the camera), before exporting, set the Render Quality to Best (choose View > Quality > Best). Best mode dramatically slows project performance and interactivity, so you might want to set the Render Quality to Normal while working. You can also set the Render Quality on export in the Export Options dialog: Choose Export, click Options, then choose Best from the Render Quality pop-up menu. To customize an export, deselect the “Use current project and canvas settings” checkbox. Isolating a Group or Object to Work with Text on a 3D Path When working with text on a 3D path, text can be difficult to read depending on its orientation and distance from the camera. To edit the text, you can snap the text object to its original face-forward orientation using the Isolate button in the Layers list (or Timeline) or the Isolate command in the Object menu. Note: The Isolate command is only available for selected objects. 880 Chapter 16 Creating and Editing Text To isolate a group or layer Do one of the following: µ In the Layers list (or Timeline), click the Isolate button. Isolate button µ Control-click the layer or group, then choose Isolate from the shortcut menu. µ Choose Object > Isolate. µ Click the Isolate button again to return to your previous view. Note: Clicking a camera’s Isolate button activates that camera’s view. Using Geometry for a Path Source The following section describes how to use geometry as the source for a text path. To use geometry for a text path source 1 Import (or draw) the shape you want to use as the path source. Chapter 16 Creating and Editing Text 881 2 Set the text Layout Method to path, then choose Geometry from the Path Shape pop-up menu. Path Shape set to Geometry The Shape Source well appears in the Inspector. 3 From the Layers list, drag the shape to the Shape Source well. 4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the shape appears in the well and the shape is used as the source shape for the text path. Note: You might want to disable the source shape in the Layers list so it is not visible in your project. To select another geometry source for a text path shape µ Click the To pop-up menu (located next to the Shape Source image well) and select the object to use as the text path’s shape source. All shapes or masks in the project appear in the list. Animating Text on a Path Text can be animated to move across the text path. 882 Chapter 16 Creating and Editing Text To animate text on a path 1 Create the path for the text to travel along. 2 Go to the frame where you want to begin the animation, and enable Record (press A). Note: Using shortcut keys while in text-editing mode can add characters to your text. 3 In the Layout pane, adjust the Path Offset slider or value slider to the amount you want to move the text on the path. A keyframe is added to the Path Offset parameter. This icon indicates a keyframe is present at the current playhead position. Chapter 16 Creating and Editing Text 883 A positive value moves the text toward the right, and a negative value moves the text toward the left. You can enter values greater than 100% or less than 0% in the value slider. A value greater than 100% moves the text completely off the path to the right; a value less than 0% moves the text off the path to the left. In the following image, the Path Offset is set to 105%, so the text is completely off the right end of the text path. 4 Go to the frame where you want to place the next keyframe. 5 Adjust the Path Offset slider or value slider to reposition the text on the path. 6 Play the project to see the text travel along the text path. 7 Disable Record. Text Margin and Tab-Related Tasks These tasks are useful when editing text margins and tabs: • Creating a Text Margin • Working with Tabs Creating a Text Margin You can create a custom margin using the Margin controls in the Layout pane of the Text Inspector or by drawing a text bounding box in the Canvas. For information on creating a text box using the Text tool, see Adding Paragraph Text in the Canvas. To create text margins in the Inspector 1 Select the Text tool, click in the Canvas, and enter some text. By default, the text is set to Type in the Layout pane. Note: Clicking the Text tool in the Canvas without dragging creates a blank text object. 884 Chapter 16 Creating and Editing Text 2 In the Layout pane, set Layout Method to Paragraph. 3 Set margin values using the Left, Right, Top, and Bottom Margin sliders. 4 Press Esc or click the Select/Transform tool to select the text bounding box and exit text-editing mode. Working with Tabs When an RTF file is imported into a Motion project, tabs defined in the RTF file are retained. You can also add and modify tabs to text created in a Motion project.Lines of text that are separated by hard returns can have different tabs. Tabs are displayed in the Canvas and in the Layout pane of the Text Inspector. To add a tab 1 Ensure the text is set to Paragraph (or Scroll) in the Layout Method pop-up menu. 2 Double-click the text object in the Canvas to activate the paragraph onscreen controls. 3 In the ruler above the text entry field in the Canvas, do one of the following: • Click to add a left tab. • Double-click to add a center tab. • Control-click and choose an option from the create tab shortcut menu. The choices are: • Create left tab • Create center tab • Create right tab • Create decimal tab When you add a tab, its white icon appears in the ruler. Decimal tab Left tab Right tab Center tab Chapter 16 Creating and Editing Text 885 To change a tab type in the Canvas µ Double-click a tab icon in the ruler. The tabs cycle through the right, center, left, and decimal types. To change a tab type in the Inspector µ In the Tabs section of the Layout pane of the Text Inspector, choose an option from the Tab type pop-up menu. The tabs icon is updated in the ruler in the Canvas. To move the tabs 1 Double-click in the text to display the text box, ruler, and scroll control. Note: The Text tool must be selected for the ruler and tabs to appear in the Canvas. 2 Do one of the following: • In the Canvas, drag a tab (the small white triangle) in the ruler. • In the Layout pane of the Text Inspector, use the Tabs controls to adjust the position and layout of the tabs. The affected text is repositioned to the tab. To remove a tab 1 Double-click in the text to display the paragraph onscreen controls. Note: The Text tool must be selected for the ruler and tabs to appear in the Canvas. 2 Drag the tab (the small white triangle) away from the ruler and release the mouse button. The tab is removed from the ruler in the Tabs controls in the Layout pane of the Text Inspector. Working with Text Glyphs Using the Transform Glyph tool, individual text characters can be modified independently of the word, line, or paragraph in which they are a member. You can choose the text attributes to change or animate, including position, rotation, scale, face (color or fill), outline, glow, or drop shadow. In addition to modifying text characters independently of their group, you can transform style attributes independently of the text character. For example, you can distort the drop shadow or glow of a letter without affecting its face or outline. These transforms can be applied using onscreen controls or the Four Corner parameter in the Style pane of the Text Inspector. 886 Chapter 16 Creating and Editing Text When the Transform Glyph tool is selected and Attribute is set to Transform Glyph (in the Text HUD), transform onscreen controls appear. These controls are identical to the 3D onscreen transform controls. For more information on using these controls, see 3D Transform Onscreen Controls. The Attribute parameter is also available in the Sequence Text behavior, which allows you to sequence any of the glyph effects through text. For more information on using the Sequence Text behavior, see Sequence Text Behavior. Transform Glyph HUD Controls When the Transform Glyph tool is selected, additional controls become available in the Text HUD. In addition to text parameters, the HUD contains the 3D transform tools, the Adjust Around pop-up menu, and the Attribute pop-up menus. For more information on the Text HUD controls, see Using the Text HUD. For more information on the HUD 3D transform tools and the Adjust Around pop-up menu, see 3D Transform HUD Controls. Attribute: Use this pop-up menu to specify the glyph attribute to be modified. There are five menu options: • Transform Glyph: Displays onscreen controls that allow you to scale, move, or rotate the glyph. • Face: Displays onscreen controls that allow you to distort the face (color fill) of the glyph. • Outline: Displays onscreen controls that allow you to distort the outline of the glyph. • Glow: Displays onscreen controls that allow you to distort the glow of the glyph. • Drop Shadow: Displays onscreen controls that allow you to distort the drop shadow of the glyph. Displaying and Choosing the Onscreen Glyph Controls Two modes of onscreen controls are available with the Transform Glyph tool. When Transform Glyph is chosen from the Attribute pop-up menu in the HUD, you can adjust a glyph’s scale, position, or rotation without affecting the rest of the characters in the text object. When Face, Outline, Glow, or Drop Shadow is chosen from the Attribute pop-up menu, you can distort the selected attribute of a glyph—without affecting the other attributes of that glyph or the rest of the characters in the text object. In transform glyph mode, the Transform Glyph tool’s onscreen controls are identical to the 3D onscreen controls. For more information on moving, rotating, or scaling objects using this tool, see 3D Transform Onscreen Controls. To display the transform glyph onscreen controls 1 Select the text object that contains the glyphs you want to modify. Chapter 16 Creating and Editing Text 887 2 Choose the Transform Glyph tool from the 2D transform tools pop-up menu in the toolbar. If no glyph was selected, the first glyph in the text is selected. 3 Do one of the following: • To scale, rotate, or move the glyph, select Transform Glyph from the Attribute pop-up menu in the Text HUD. • To distort a text style attribute, select Face, Outline, Glow, or Drop Shadow from the Attribute pop-up menu in the Text HUD. Note: If the HUD does not appear, choose Window > Show HUD (or press F7). Selecting Characters with the Transform Glyph Tool You can select a single text glyph or multiple text glyphs with the Transform Glyph tool. When more than one glyph is selected, the last Shift-clicked glyph appears with the transform tools. This is known as the focused glyph. A box appears around the other selected characters. Any selected glyph (focused or not) is affected by transforms applied to the focused glyph. Note: If you use the Transform Glyph tool to distort a style attribute (face, outline, glow, drop shadow) of a glyph, only one glyph can be selected at a time. To select all glyphs 1 Select the text object that contains the glyphs to modify. 2 Choose the Transform Glyph tool from the 2D transform tools in the toolbar. Ensure that the Attribute pop-up menu in the HUD is set to Transform Glyph. A glyph is selected. 3 Choose Edit > Select All (or press Command-A). All glyphs are selected, and the Transform Glyph tool remains selected. To select multiple glyphs 1 Select the text object that contains the glyphs to modify. 2 Choose the Transform Glyph tool from the 2D transform tools in the toolbar. The first glyph in the text is selected. 888 Chapter 16 Creating and Editing Text 3 Do one of the following: • While pressing the Shift key, select the other glyphs to include in your edit. • Drag to select the other glyphs to include in your edit. • While pressing the Command key, click to select noncontiguous glyphs to include in your edit. Although the onscreen controls appear only around the focused (last selected) glyph, any glyph surrounded by a box is affected by adjust the onscreen controls. To deselect a group of selected glyphs µ Choose Edit > Deselect All (or press Command-Shift-A). The glyphs are deselected and the Transform Glyph tool remains selected in the toolbar. To select a glyph in another text object µ With an active Transform Glyph tool selection, click the text layer in the Layers list or Timeline to modify. If no glyph was selected in the new text object, the first glyph is active. If a glyph was selected, the last selected glyph is active. Resetting Position, Rotation, or Scale of a Transformed Glyph When a text object is moved, rotated, or scaled as a whole, the changes are reflected in the Properties Inspector. However, when a glyph is transformed, the changes are reflected in the Format pane of the Text Inspector. Chapter 16 Creating and Editing Text 889 To reset a rotated glyph 1 If the glyph is not selected, select the Transform Glyph tool from the 2D transform tools in the toolbar, then select the glyph or Shift-select a group of glyphs. 2 In the Format pane of the Text Inspector, click the Animation menu for the Rotation parameter and choose Reset Parameter. The glyphs return to their original rotation. To reset a repositioned glyph 1 If the glyph is not selected, select the Transform Glyph tool from the 2D transform tools in the toolbar, then select the glyph or Shift-select a group of glyphs. 2 In the Format pane of the Text Inspector, click the Animation menu icon for the Offset parameter and choose Reset Parameter. To reset a scaled glyph 1 If the glyph is not selected, select the Transform Glyph tool from the 2D transform tools in the toolbar, then select the glyph or Shift-select a group of glyphs. 2 In the Format pane of the Text Inspector, Control-click the Scale parameter and choose Reset Parameter. Adjusting Glyph Attributes The onscreen controls for adjusting a glyph’s style attribute are similar to the distort onscreen controls. You can also distort a glyph’s attributes in the Text Inspector. To distort a glyph’s style attribute in the Canvas 1 Select the text object that contains the glyph to modify, then select the Transform Glyph tool from the 2D transform tools in the toolbar. 2 Choose the attribute to modify (Face, Outline, Glow, or Drop Shadow) from the Attribute pop-up menu in the Text HUD. 890 Chapter 16 Creating and Editing Text The glyph is enclosed by a bounding box with eight handles: four corner handles for distorting, and four shearing handles located in the middle of the bounding box edges. Corner handle Shearing handle 3 Do one of the following: • To shear the style attribute, drag a shearing handle. • To distort the style attribute, drag a corner handle. After you adjust the attribute (Glow in this example), that parameter is selected in the Style pane of the Text Inspector (the Glow activation checkbox). That parameter is only turned on for the modified glyphs in the text object. To distort a glyph style attribute in the Inspector 1 Select the text object that contains the glyph to modify, then select the Transform Glyph tool from the 2D transform tools in the toolbar. 2 Select the attribute to modify (Face, Outline, Glow, or Drop Shadow) from the Attribute pop-up menu in the Text HUD. 3 In the Style pane of the Text Inspector, click the Four Corner disclosure triangle for the attribute to modify, then adjust the Bottom Left, Bottom Right, Top Right, or Top Left value sliders to distort the attribute. Chapter 16 Creating and Editing Text 891 Resetting Adjusted Glyph Attributes When a glyph’s attributes are modified using the Transform Glyph tool, the changes are reflected in the Style pane of the Text Inspector. Although you can only modify a style attribute of one glyph at a time, you can reset multiple glyphs at one time. To reset a single modified glyph attribute µ With the glyph selected (using the Transform Glyph tool), click the reset button for the Four Corner parameter in the Style pane of the Text Inspector. To reset multiple modified glyph attributes 1 Select the text object containing the glyph you want to modify, then select the Transform Glyph tool from the 2D transform tools in the toolbar. 2 Select the glyph or Shift-select a group of glyphs. 3 Choose Transform Glyph from the Attribute pop-up menu in the Text HUD. 4 Shift-select the glyphs to reset. 5 Click the reset button for the Four Corner parameter in the Style pane of the Text Inspector. Animating Glyphs The Transform Glyph tool allows you to animate text characters and their style attributes. For more information, see Animating with the Transform Glyph tool. Adding Behaviors and Filters to Text Nontext behaviors and filters are applied to text in the same manner as they are to other objects in Motion. This section provides a quick guide to applying behaviors and filters to text. When a filter is applied to text, the text is flattened. In the Layout pane of the Text Inspector, the Flatten checkbox is selected and the parameter is disabled. When text is flattened, filters are applied to the text in local space—that is, “flat” to the text. Flattened text with applied Twirl filter 892 Chapter 16 Creating and Editing Text Note: To deselect the Flatten checkbox when a filter is applied, turn off (or remove) the filter in the Layers list, select the text, then deselect the Flatten checkbox (in the Layout pane of the Text Inspector). If you turn the filter back on, the text is flattened again. (The Flatten checkbox is selected and the parameter is disabled.) To apply a behavior to text Do one of the following: µ In the Library, select a behavior, then drag it to the text in the Canvas, Layers list, or Timeline. µ Select the text, then choose an item from the Add Behavior pop-up menu in the toolbar. The Text HUD is replaced with a behavior HUD. Note: For more information on applying text behaviors, see Text Animation and Text Sequence Behaviors and Preset Text Sequence Behaviors. For more information on other behaviors, see Using Behaviors. To apply a filter to text Do one of the following: µ In the Library, select a filter, then drag it to the text in the Canvas, Layers list, or Timeline. µ Select the text, then choose a filter from the Add Filter pop-up menu in the toolbar. The Text HUD is replaced with a filter HUD. Note: For more information on using filters, see Using Filters. Using the Text HUD The Text HUD contains commonly adjusted text parameters, such as Opacity, type Family, and Color. Chapter 16 Creating and Editing Text 893 Note: If no HUD is present when the text is selected, press F7 or D to display the Text HUD. When a text object and the 3D Transform tool (in the toolbar) are selected, the 3D transform tools become available in the HUD. These additional controls allow you to transform the text object in X, Y, and Z dimensions, regardless of whether the group is 2D or 3D. For more information on using the 3D transform tools in the HUD, see 3D Transform HUD Controls. 894 Chapter 16 Creating and Editing Text When the Transform Glyph tool is selected from the 2D transform tools in the toolbar, the Attribute pop-up menu and 3D transform tools become available in the Text HUD. The Attribute menu specifies the glyph attribute to be modified. For more information on glyphs, see Working with Text Glyphs. Text Parameters in the HUD The Text HUD includes the following controls: Opacity: Use this slider to change the opacity value of the text object—the text face, outline, glow, and drop shadow. By default, the opacity of text is set to 100%. This is is the Opacity parameter located in the Properties Inspector. To change text style elements (Face, Outline, Glow, and Drop Shadow), use the Style pane of the Text Inspector. Blend Mode: Use this pop-up menu to choose a blend mode for the selected text. Note: The Properties Inspector also contains controls to change the blend mode of the text. When you change the blend mode of text in the Text HUD, the blend mode is also changed in the Properties Inspector and vice versa. Style (unlabeled): Use this pop-up menu to choose from preset or user-saved text styles, or to save the current style as a preset. Typeface: Use this pop-up menu to choose the type style, such as Bold, Italic, and so on. Available typefaces are specific to the selected font family. Alignment: Use these buttons to set the horizontal and vertical alignment of the text object. Color: Use the color well to display the Colors window and choose another color for the text. You can also Control-click a color well to display the pop-up color palette, then drag in the color spectrum to select a color. Size: Use this slider to change the point size of text. Text is created at 48 points by default. Note: The text Size sliders (in the HUD and in the Inspector) are limited to 288 points. To set text to a larger point size, enter a number in the Size field in the Format pane of the Text Inspector. Text size field Chapter 16 Creating and Editing Text 895 Tracking: Use this slider to change the tracking value of text. Drag left (for a negative tracking value) or right (for a positive tracking value). Note: The text Tracking sliders (in the HUD and in the Inspector) are limited to 100%. To set a larger tracking value, drag the value slider or enter a number in the Tracking field in the Format pane of the Text Inspector. Line Spacing: Use this slider to change the space between lines of text. Dragging to the right (above 0) increases the line spacing and dragging to the left (below 0) creates negative line spacing. Note: When the Transform Glyph tool is selected, the Text HUD contains additional controls, including the 3D transform tools, the Adjust Around pop-up menu, and the Attribute pop-up menu. 896 Chapter 16 Creating and Editing Text You can animate text using behaviors, keyframes, or a combination of both. All standard behavior types can be applied to text (Basic Motion, Parameter, or Simulation). Additionally, Motion has a special class of text behaviors that create animation by applying a range of values to text-specific parameters. For more information on Basic Motion, Parameter, and Simulation behaviors, see Using Behaviors. Text behaviors are an ideal way to test text treatments quickly and easily, without resorting to keyframes. You can adjust the rate of an applied behavior using the behavior’s HUD and watch as the animation updates in the Canvas. For more control, you can access all parameters for a behavior in the Inspector. If your project requires specific timing and positioning of text, you can use behaviors to test effects and then create keyframes after you know what you want to do. Additionally, you can create keyframes from the applied text behaviors by using the Convert to Keyframes feature. This approach allows you to fine-tune the animation created by the text behaviors. Behaviors are not required to animate text. You can create text animation via traditional keyframing, or by combining both techniques. Note: Mixing keyframes and behaviors can yield unexpected results. For more information on combining behaviors and keyframes, see Combining Behaviors with Keyframes. You can animate text as a whole or as individual characters (glyphs). You can animate format parameters such as text Position, Scale, Rotation, and Tracking, as well as style attributes such as Outline, Glow, and Drop Shadow. You can animate text on a path, and you can use text as an image mask source or replicator cell source. This chapter covers the following: • Text Animation and Text Sequence Behaviors (p. 898) • Sequence Text Behavior (p. 900) • Scroll Text Behavior (p. 922) • Text Tracking Behavior (p. 925) • Type On Behavior (p. 926) 897 Animating Text 17 • Preset Text Sequence Behaviors (p. 927) • Saving a Modified Text Behavior to the Library (p. 933) • Using Other Behaviors with Text (p. 934) • Using Behaviors to Animate Text in 3D (p. 936) • Animating Text with Keyframes (p. 937) • Animating with the Transform Glyph tool (p. 937) Text Animation and Text Sequence Behaviors In Motion, text behaviors are divided into two basic categories: Text Animation behaviors and Text Sequence behaviors. Text Animation behaviors allow you to create crawls, scrolls, animated text tracking, and “type-on” effects. This group also includes the powerful Sequence Text behavior, which allows you to create a custom animation that sequences text style and text format attributes through text characters over time. The style attributes include face (fill color), glow, drop shadow, and outline. The format attributes include position, opacity, scale, rotation, tracking, and so on. The sequence can run through the text from left to right or right to left. Alternatively, you can create a custom animation for the direction of the sequence. The sequence can be applied per character, per word, per text object, and so on. In the following illustration sequence, the text in the upper area of the image is animated by modifying the Scale, Blur, and Opacity parameters in the Sequence Text behavior. The lower text is animated using the Fade In/Fade Out and Tracking behaviors. Text Sequence behaviors are preset versions (the parameters are already selected and animated) of the Sequence Text behavior. There are six classes of Text Sequence behaviors: Basic, Continuous, Energetic, Glow, Highlighter, and Subtle. Although each Text Sequence behavior applies a specific preset animation effect to a text object, you can customize the effect by adding, removing, or modifying parameters. Note: Although mostText Sequence behaviors have a definite start or end (fade in or out, blur in or out, and so on), the Continuous group of behaviors have no start and end points. You can save a modified behavior to the Library. For more information, see Saving a Modified Text Behavior to the Library. 898 Chapter 17 Animating Text Applying a Text Behavior Text behaviors are applied in the same manner as all other behaviors in Motion—via the Library or the Add Behavior pop-up menu in the toolbar. As with other behaviors, the Library allows you to see a preview of the behavior before it is applied to text. The Add Behavior menu allows you to apply a behavior to single or multiple text objects. To apply a Text behavior from the Library 1 Create a text object in your project. 2 In the Library, select the Behaviors category, then select the Text Animation or Text Sequence subcategory. Stack Text Sequence behavior subcategory Text Animation behavior subcategory 3 Select a text behavior in the stack. Chapter 17 Animating Text 899 A preview of the animation plays in the preview area. The preview merely represents the default animation of the behavior, which can be modified. 4 Do one of the following: • Drag the behavior to a text object in the Canvas, Layers list, or Timeline. • Click the Apply button in the preview area. The Text HUD is replaced with the Text Behavior HUD. To apply a Text behavior from the Add Behavior pop-up menu 1 Select the text object (or objects) you want to apply the behavior to. 2 In the toolbar, choose a Text Animation behavior or Text Sequence behavior from the Add Behavior pop-up menu. Sequence Text Behavior The Sequence Text behavior allows you to animate text attributes, such as scale, position, color, opacity, and glow in sequence through the text characters. For example, you can create a sequence in which the text characters fall vertically into place as they scale down, fade in, and rotate. After applying the Sequence Text behavior to a text object, you must designate the parameters of the text you want to animate. You do this in the Behaviors Inspector. After you link the text parameters to the behavior, you can use the Sequence Text controls to adjust the animation’s direction, speed, number of loops, and other qualities. Tip: Using the Transform Glyph tool, you can modify individual text characters independently of the influence of the applied sequence text behavior. For information on using the Transform Glyph tool, see Working with Text Glyphs. 900 Chapter 17 Animating Text Using the Sequence Text Behavior Applying and activating a Sequence Text behavior is a two-step process: First, you add the Sequence Text behavior to a text object. Second, you assign the parameters of the text you want to animate, in the Behaviors Inspector or by manipulating the text object with the onscreen controls. After you link the text parameters to the behavior, you can use the Sequence Text controls in the Behaviors inspector to adjust the animation’s direction, speed, number of loops, and other qualities. To apply the Sequence Text behavior µ Select the text object to be animated, then choose Text Animation > Sequence Text from the Add Behavior pop-up menu. The behavior is applied, and the first character of text is selected with the Adjust Item tool. Important: Unless you use onscreen controls (via the Adjust Item tool) to create a sequence, you must add at least one parameter to the behavior in the Inspector before animation can occur. Until a parameter is added, adjustments made in the HUD have no effect. To create a sequence animation using the Inspector 1 With the Sequence Text behavior selected, display the Behaviors pane in the Inspector. Chapter 17 Animating Text 901 The upper area of the Sequence Text controls contains Add and Remove pop-up menus, which are used to select text parameters to be sequenced, or to remove parameters after they are added. The second group of parameters are sequence controls, which include options for setting the direction and speed of the animation, whether the animation is applied per character, per word, per text object, and so on. In this simple example, Opacity, Scale, and Glow scale are sequenced. 902 Chapter 17 Animating Text 2 In the Parameter row, choose Format > Opacity from the Add pop-up menu. The Opacity parameter is added in the Behaviors Inspector above the Add and Remove menus. 3 In the Inspector, set Opacity to 0 and play the project (press Space bar). Because the Sequencing parameter is set to From by default, the opacity sequences from the value set in the behavior (0%) to original value of the text (100%). 4 In the Behaviors Inspector, choose To from the Sequencing pop-up menu. Now when you play the project from the beginning, the opacity fades to the value set in the behavior (0%) from the original value of the text (100%). 5 Choose Format > Scale from the Add pop-up menu, then choose Glow > Scale from the same menu. The Scale and Glow Scale parameters are added to the Behaviors Inspector. 6 In the Behaviors Inspector, set Scale to 250%, set Glow Scale to 250%, then set Spread (in the Controls group) to 4. Chapter 17 Animating Text 903 The opacity sequences to the values defined in the behavior from the original values. The increased spread value softens the sequence between the characters. Note: Although the style effects created in the Sequence Text behavior (Face, Outline, Glow, and Drop Shadow) are independent of parameters in the Style pane of the Text Inspector (Face, Outline, Glow, and Drop Shadow), changes made in the Style pane affect the sequenced text. For example, if you select the Glow checkbox in the Style pane after adding Glow to the Sequence Text behavior, the appearance of the glow may alter. This is because the Glow settings in the Style pane are additive to the sequence behavior (the glow may appear brighter or more blurred). In the following illustration, the glow is scaled and offset in the Style pane. The above example covers only a portion of the options in the Sequence Text behavior. Using the behavior’s parameters, you can create a nearly endless variety of sequences. You can define the speed in which the sequence moves through the text, as well as whether the sequence moves through the text per character, word, or line. You can also change the direction of the sequence and define the number of times the sequence loops over its duration. Variance and randomization can also be added to values defined in the behavior. For more information on these controls, see Sequence Text Controls. 904 Chapter 17 Animating Text To create a sequence animation using onscreen controls 1 With the Sequence Text behavior applied and the first letter (glyph) selected (with the Adjust Item tool), do one of the following: • To sequence the position of the text, drag the character in the Canvas to a new position. In the Behaviors Inspector, the Position parameter is added to the Format category (above the Add and Remove pop-up menus). The values in the Position parameter can be modified in the Inspector (using the Position value sliders) as well as in the Canvas (by dragging the glyphs of the text object). Position parameter is added. Chapter 17 Animating Text 905 • To sequence the rotation of the text, rotate the selected glyph in the Canvas. To display the rotation controls, hold the Command key down. For more information on using onscreen transform controls, see 3D Transform Onscreen Controls. In this example, the text is rotated on its Y axis. In the Behaviors Inspector, the Rotation parameter is added to the Format category (above the Add and Remove pop-up menus). • To sequence the scale of the text, scale the selected glyph in the Canvas by dragging a scale handle. (To scale the text uniformly, press Shift while dragging the scale handle in the Canvas.) In the Behaviors Inspector, the Scale parameter is added to the Format category (above the Add and Remove pop-up menus). 2 Play the project (press Space bar). Note that in the Controls section of the Behaviors Inspector, the Sequencing pop-up menu is set to From, the default setting. As a result, upon playback, the text in your project moves from the value in the Position parameter to the original value (the position of the text before you dragged it in the Canvas). For more information on Sequence Text parameters, see Sequence Text Controls. Note: When using the Sequence Text behavior, glyphs are selected with the Adjust Item tool rather than the Transform Glyph tool. For more information on the Transform Glyph tool, see Working with Text Glyphs. 906 Chapter 17 Animating Text When a glyph is selected with the Adjust Item tool, a section of the Timeline becomes highlighted. This area shows when the selected glyph is affected by the sequence behavior. Highlighted area indicates the animated locaton (in time) of the selected glyph To remove a parameter from the sequence behavior µ In the Parameter row of the Behaviors Inspector, choose a parameter from the Remove pop-up menu. The parameter is removed from the behavior. To create a softer transition between each text unit µ In the Behaviors Inspector, drag the Spread slider to the right (or click the value field, type a number, then press Return). Spread value set to 0 Spread value set to 11 Chapter 17 Animating Text 907 Using the Text Style Pane with the Sequence Text Behavior Parameters you want to include in a sequence animation are assigned in the Sequence Text behavior. Attributes modified in the Style pane of the Text Inspector (Face, Glow, Outline, or Drop Shadow) do not sequence. Therefore, to modify a parameter but keep it unchanged over the course of a sequence animation, modify that parameter in the Style pane of the Text Inspector. For example, you can create a sequence in which the text glow scales and fades (by setting Glow > Scale and Glow > Opacity in the Sequence Text behavior), but where the text outline remains constant (by setting the Outline parameters in the Style pane of the Text Inspector). Note: Because parameters set in the Sequence Text behavior are independent of parameters set in the Style pane, you may see changes in the appearance of some attributes when you select parameter checkboxes in the Style pane. For example, if you create a sequence that animates text glow and then select the Glow checkbox in the Style pane of the Text Inspector, the effect is additive. The glow in the Style pane is added to the glow created in the Sequence Text behavior. To use the Style pane with the Sequence Text behavior 1 With a text object selected, open the Style pane in the Text Inspector. 2 In the Face controls, change the color of the text to something other than white. For more information on using color controls, see Color Controls. 3 Select the Outline checkbox and modify some Outline parameters. 4 From the Add Behavior pop-up menu in the toolbar, choose Text Animation > Sequence Text. 5 In the Behaviors Inspector, choose Face > Color from the Add pop-up menu. The text turns default white. When the Sequencing pop-up menu is set to the default From, the sequence behavior animates from the values defined in the Sequence Text behavior to the original values of the text. Before you applied the Sequence Text behavior, the text color was defined in the Style pane, so this is considered the original color. 6 Play the project. The text color sequences from the color defined in the Sequence Text behavior to the original color of the text. The outline does not sequence. Using the Custom Sequencing Option By choosing Custom from the Sequencing pop-up menu, you can create a sequence by keyframing parameters. The following example creates a position sequence. To create an animation using the Custom Sequencing option 1 Select the text object to be animated, then choose Text Animation > Sequence Text from the Add Behavior pop-up menu in the toolbar. 2 In the Behaviors Inspector, choose Custom from the Sequencing pop-up menu. 908 Chapter 17 Animating Text 3 Drag the playhead to the frame where you want to begin the animation, then click the Record button (or press A) to turn on keyframing. When keyframing is enabled, the values in the Inspector for parameters that can be animated turn red. Note: You can also animate parameters by manually adding an initial keyframe. After a keyframe is added to a parameter, any further adjustment to that parameter adds a keyframe at the current playhead position, independent of the Record button state. For more information, see Keyframing Methods. 4 Do one of the following: • In the Behaviors Inspector, choose Format > Position from the Add pop-up menu, then use the Position value sliders to define the beginning (or ending) position of the text. • In the Canvas, drag the selected text character to its beginning (or ending) position. A keyframe is added to the Position parameter. 5 Go to the next frame where you want to set a position keyframe, and do one of the following: • In the Behaviors Inspector, enter a Position value. • In the Canvas, drag selected text to a new position. A second position keyframe is created. 6 Repeat Step 5 until you add all of your keyframes. Chapter 17 Animating Text 909 In the image below, an editable animation path appears in the Canvas. An animation path appears only when Custom is selected from the Sequencing pop-up menu. For more information on working with animation paths, see Manipulating Animation Paths in the Canvas. Note: If you change the Sequencing parameter to another option, such as Through Inverted or To, and then change Sequencing back to Custom, the custom animation path is retained. Sequencing the Distortion of Style Attributes In addition to using the value fields and sliders in the Inspector, you can use onscreen controls to sequence the Four Corner parameter, creating warp effects that manipulate the text Face, Outline, Glow, or Drop Shadow parameters. In the following simple examples, text Glow, Outline, and Drop Shadow parameters are sequenced. To sequence the warping of a text glow effect 1 Select the text object to be animated, then choose Text Animation > Sequence Text from the Add Behavior pop-up menu in the toolbar. 2 In the Parameter row of the Behaviors Inspector, choose Glow > Four Corner from the Add pop-up menu. In the Inspector, the Glow Four Corner parameter is added to the sequence above the Add and Remove pop-up menus. The Four Corner parameter is used to distort the text’s glow attribute, allowing you to use onscreen controls to pull the glow around the text. 910 Chapter 17 Animating Text 3 In the lower portion of the Behaviors Inspector, choose Glow from the Attribute pop-up menu. Set Attribute to Glow The onscreen controls appear. Drag them to distort the attribute. Distort handles Shearing handles Chapter 17 Animating Text 911 4 Do one of the following: • To distort the glow, drag a distort handle. Note: Some characters may not appear affected when you drag in the Canvas. However, when you play the project, all characters are affected. • To shear the glow, drag a shearing handle. You can also use the value sliders in the Four Corner parameters in the Behaviors Inspector. Click the Four Corner disclosure triangle to show the individual Bottom Left, Bottom Right, Top Right, and Top Left controls. 5 Play the project. The glow distortion is sequenced through the text, based on the settings in the Sequence Text behavior parameters. The following task describes an optional workflow in which you can distort text face, glow, outline, or drop shadow using the above steps, but without using the Add pop-up menu. To sequence the warping of a text glow effect without using the Add pop-up menu 1 With the Sequence Text behavior applied to a text object, choose Glow from the Attribute pop-up menu In the lower portion of the Behaviors Inspector. 912 Chapter 17 Animating Text Onscreen controls appear that allow you to distort the text attribute. No parameters are added to the Inspector (above the Add pop-up menu) until the onscreen controls are adjusted. 2 Do one of the following: • To shear the glow, drag a shearing handle. • To distort the glow, drag a corner handle. After you adjust a handle, the Four Corner parameter is added to the sequence above the Add and Remove pop-up menus. Note: You can also adjust the value sliders in the Four Corner parameter in the Behaviors Inspector. Click the Four Corner disclosure triangle to show the Bottom Left, Bottom Right, Top Right, and Top Left controls. 3 Play the project. The glow distortion is sequenced through the text, based on the settings in the Sequence Text behavior parameters. Sequence Text Controls The Sequence Text behavior has the following parameter controls in the Behaviors Inspector. Parameter (Add and Remove): Use the Add and Remove pop-up menus to add and remove text format and style parameters to the sequence. After a parameter is chosen, its controls appear above the Add and Remove pop-up menus. There are five Add pop-up menu items—Format, Face, Outline, Glow, and Drop Shadow—each of which invokes additional submenu items. • Format: Choose any of eight Format parameters from the submenu: Position, Opacity, Scale, Rotation, Tracking, Baseline, Slant, or Character Offset. Except for Character Offset, these parameters are also found in the Format pane of the Text Inspector. (For more information on text format parameters, see Editing Text Format.) Choose the Character Offset option to offset characters alphabetically or numerically. The amount of the offset is determined by the value set in the parameter. In the following illustrations, Character Offset and Position are sequenced. The Character Offset Value is 3. The words move in sequence from the character offset value to form the original words, “offset 123.” Chapter 17 Animating Text 913 When you choose Format > Character Offset from the Add pop-up menu, the Character Set pop-up menu appears in the Behaviors Inspector. There are two menu options: Preserve Case & Digits and Full Unicode. Choose Preserve Case & Digits to ensure that offset characters respect the case and number of the original text. For example, with this option selected, an uppercase letter remains uppercase as other letters cycle through its position. Note: Using the onscreen controls to manipulate the scale, position, or rotation of the text unit adds Format parameters to the Sequence Text behavior. For more information on using onscreen controls to sequence text, see Using the Custom Sequencing Option. • Face: Choose any of four Face parameters for sequencing: Color, Opacity, Blur, or Four Corner. For more information on text face parameters, see Text Face Controls in the Style Pane. • Outline: Choose any of six Outline parameters for sequencing: Color, Opacity, Blur, Width, Layer Order, or Four Corner. For more information on text outline parameters, see Text Outline Controls in the Style Pane. • Glow: Choose any of eight Glow parameters for sequencing: Color, Opacity, Blur, Radius, Scale, Offset, Layer Order, or Four Corner. For more information on text glow parameters, see Text Glow Controls in the Style Pane. • Drop Shadow: Choose any of seven Drop Shadow parameters for sequencing: Color, Opacity, Blur, Scale, Distance, Angle, and Four Corner. For more information on text drop shadow parameters, see Text Drop Shadow Controls in the Style Pane. Sequencing: This pop-up menu sets how the sequence animation moves through the text unit. (A text unit can be a character, word, line, or an entire text object, as set in the Unit Size pop-up menu, described below.) There are five items in the Sequencing pop-up menu: • To: Specifies that the animation begins at the original parameter value and moves to the value set in the sequence behavior. For example, if the original opacity value is 100% and opacity is set to 0% in the Sequence Text parameters, the text unit begins completely opaque and becomes completely transparent. • From: Specifies that the animation moves from the value set in the sequence behavior to the original parameter value. For example, if the original opacity value is 100% and opacity is set to 0% in the Sequence Text parameters, the text unit begins completely transparent and becomes completely opaque. This is the opposite of the To option in the Sequencing pop-up menu. • Through: Specifies that the sequence goes through a full animation cycle starting at the original value of the parameter, moves to the value set in the sequence behavior, and then returns to the original value of the parameter. For example, if the original opacity value is 100%, and opacity is set to 0% in the Sequence Text parameters, the text unit begins completely opaque, becomes transparent, and then becomes completely opaque again. 914 Chapter 17 Animating Text • Through Inverted: Specifies that the sequence goes through an inverted animation cycle starting from the value set in the sequence behavior, moves to the original value, and then returns to the value set in the sequence behavior. For example, if the original opacity value is 100% and opacity is set to 0% in the Sequence Text parameters, the text unit begins completely transparent, becomes opaque, and then becomes completely transparent. This is the opposite of the Through Sequencing option. • Custom: Allows you to keyframe how the animation moves through the values set in the Sequence Text parameters. When Custom is selected from the Sequencing pop-up menu, the Minimum and Maximum parameters in the Variance controls (see description below) are replaced with the Amount parameter, and the Fix pop-up menu appears. Unit Size: This pop-up menu specifies whether the animation is sequenced by Character (the default setting), Character (without spaces), Word, Line, All, or Custom (a keyframed range). • Character: Sequences the animation by single characters of text (including spaces). • Character (without spaces): Like the Character setting, sequences single characters of text, but does not treat spaces as characters (spaces are ignored). • Word: Sequences the animation by word. • Line: Sequences the animation by lines of text. • All: Sequences the animation through the entire text object. • Custom: Allows you to customize the size of the sequenced text unit. When Custom is selected from the Unit Size pop-up menu, the Start and End parameters become available. These parameters define the size of the selection. Start: This slider, available when Unit Size is set to Custom, defines the starting point of the selection to be sequenced. End: This slider, available when Unit Size is set to Custom, defines the ending point of the selection to be sequenced. Spread: This slider controls the amount of falloff at the beginning and end of the sequencing. To create a softer transition between each text unit, increase the Spread value. Direction: This pop-up menu sets the direction of the sequencing to Forwards (default), Backwards, Center to Ends, Ends to Center, or Random. • Forwards: Sequences in the direction of the letters (typically left to right). • Backwards: Sequences in the reverse direction, (typically right to left). • Center to Ends: Sequences from the center of the text outwards. • Ends to Center: Sequences from the outer edges of the text inwards. • Random: Randomizes the direction of the sequencing. When Random is selected from the Direction pop-up menu, the Random Seed parameter becomes available. Chapter 17 Animating Text 915 Random Seed: This control, available when Direction is set to Random, allows you to change the current “randomness” (seed number) of the direction of the sequence by typing a new number or clicking the Generate button. Speed: This pop-up menu tat sets the action of the sequence behavior to Constant, Ease In, Ease Out, Ease Both, Accelerate, Decelerate, or Custom. Note: By default, the sequence animation lasts for the duration of the text object to which it is applied. You can speed or slow the behavior by adjusting its bar in the mini-Timeline or Timeline. For more information, see Changing the Speed of Text Behaviors. • Constant: The sequence animation moves from one end of the text to the other at a constant rate. The sequence moves in the direction specified in the Direction pop-up menu. • Ease In: The sequence animation begins slowly and increases to normal speed as it moves through the text. • Ease Out: The sequence animation begins at normal speed and slows toward the end of the text. • Ease Both: The sequence animation begins slowly, increases to normal speed as it moves toward the middle of the duration of the text, and slows as it reaches the end of the text. • Accelerate: The rate of the sequence animation increases as it moves through the text. • Decelerate: The rate of the sequence animation decreases as it moves though the text. • Custom: Allows you to keyframe how the selection (the animation) moves through the text. When Custom is selected from the Speed pop-up menu, the Custom Speed parameter becomes available. Custom Speed: This slider, available when Speed is set to Custom, allows you to keyframe the completion of the sequencing by defining the location of the text where the animation is in effect. Loops: This slider sets the number of times the animation sequences through the text over its duration. Apply Speed: This pop-up menu controls the speed of the sequencing over multiple loops. There are three menu options: • Once Per Loop: The setting chosen in the Speed pop-up menu is applied one time for each loop. For example, if Speed is set to Accelerate, the rate of the sequence animation increases as it moves through the text for every loop. • Over Entire Duration: The setting chosen in the Speed pop-up menu is applied one time for the length of the behavior. For example, if Speed is set to Accelerate, the rate of the sequence animation increases as it moves through the text over the entire duration of the behavior, regardless of the number of loops. 916 Chapter 17 Animating Text • Per Object: The setting chosen in the Speed pop-up menu is applied one time for each object for every loop. For example, if Speed is set to Accelerate, the rate of the sequence animation increases as it moves through each text object for every loop. End Condition: This pop-up menu specifies how the animation is applied to the end of the sequence animation. There are three options: • Hold: Completes the sequence animation cycle one time, then starts it over from the beginning (after the last text unit in the sequence completes its animation). • Wrap: Treats the sequence animation as a continuous loop so the spread wraps from the last text unit in the sequence to the first text unit. • Ping-Pong: Completes the sequence animation cycle forward, then completes the animation backward, then forward, and so on. End Offset: A slider that offsets the end of the effect of the sequence behavior. By default, the sequence animation is in effect until the end of the behavior. For example, to stop the sequencing 60 frames from the end of the text object (or project), drag the End Offset slider to 60 or enter 60 in the value field. Using this slider to stop the effect, rather than trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the text to its original settings. Variance: This group of controls allows you to randomize the attributes assigned to sequence through the text. For example, if you add variance to a scale sequence, the text scale is randomized rather than moving from the original Scale value to the Scale value defined in the sequence behavior. These sliders control the frequency of the randomness. When sequencing is set to To, From, Through, or Through Inverted, it is useful to see how the Variance numbers affect the randomness. The following image shows a sequence animation in which the Y Position is offset. When a low variance value (frequency) is applied, the randomness is very smooth along the line of text—like the text is riding a very slow and smooth wave. Chapter 17 Animating Text 917 As the variance is increased, the randomness increases across the line of text. Because the text is riding on very short and frequent waves, the letters are offset in the Y axis with more randomness. When Custom is chosen from the Sequencing pop-up menu, the same principle applies, so a low variance value causes the text to offset from its animation with a smooth path, while a high variance causes more randomness. Note: Because the Variance parameters are sensitive, low values are necessary for smooth animation results. • Variance: A slider that allows you to fluctuate the values of the attributes assigned to sequence through the text. For example, if you add variance to an opacity sequence, the text opacity is randomized rather than moving strictly from the original Scale value to the Scale value defined in the sequence behavior. • Minimum: A slider that defines the lower boundary of the variance for the sequenced parameter value. For example, if you set Minimum to 25% for a sequence animating text scale, the minimum size that the text unit will scale to is 25% of the Scale value set in the behavior. Note: When Custom is selected from the Sequencing pop-up menu, the Minimum and Maximum parameters are replaced with the Amount parameter. • Maximum: A slider that defines the upper boundary of the variance for the sequenced parameter value. For example, if you set Maximum to 75% for a sequence animating text scale, the maximum size that the text unit scales to is 75% of the Scale value set in the behavior. Note: When Custom is chosen from the Sequencing pop-up menu, the Maximum and Minimum sliders are replaced with the Amount slider. 918 Chapter 17 Animating Text • Amount: A slider that becomes available when Custom is chosen from the Sequencing pop-up menu, and defines the maximum amount that the animated parameter can deviate from its animation value. For example, the following image shows a custom animation of a glyph in the positive Y direction. When Amount is set to 50, the glyph deviates no more than 50 pixels to the left or right of the animation path. The bold red line shows the animation path, and the thinner red line displays the randomized path. • Noisiness: A slider that adds an additional overlay of random variance. Higher Noisiness values result in more erratic variations in the affected parameter. • Seed: Click the Generate button to create an initial random seed for creating randomness in the Variance parameters. To change the randomness results after you click Generate, click the button again or enter a value in the field. Fix: Available when Sequencing is set to Custom, this pop-up menu fixes the values defined in the behavior to the start, end, or start and end of the behavior. There is also an option to not fix the values. Variance must be greater than 0 for this parameter to have any effect. • Start Point: When variance is applied, the values defined in the Sequence Text behavior (above the Add and Remove pop-up menus in the Behaviors Inspector) at the start and end of the behavior are fixed to the first frame of the behavior. In the following images, the text position is sequenced. Fix is set to Start Point. • End Point: When variance is applied, the values defined in the Sequence Text behavior (above the Add and Remove pop-up menus) at the start and end of the behavior are fixed to the last frame of the behavior. Chapter 17 Animating Text 919 In the following images, the text position is sequenced. Fix is set to End Point. • Both: When variance is applied, the values defined in the Sequence Text behavior (above the Add and Remove pop-up menus) at the start and end of the behavior are fixed to the first and last frames of the behavior. • Neither: When variance is applied, the values defined in the Sequence Text behavior (above the Add and Remove pop-up menus) at the start and end of the behavior are not fixed to the first or last frames of the behavior. In the following images, the text position is sequenced. Fix is set to Neither. Attribute: In addition to sequencing text attributes such as outlines, glows, and drop shadows, you can sequence the warping of those attributes. Use the Attribute pop-up menu to select the attribute you want to modify. There are five options: • Transform Glyph: Displays the glyph onscreen controls, allowing for the selection of characters of a text object for direct manipulation. For more information about sequencing using the glyph onscreen tools, see Using the Custom Sequencing Option. • Face: Displays onscreen controls that allow you to modify the shape, size, and position of the face (color fill) of text characters. • Outline: Displays onscreen controls that allow you to modify the shape, size, and position of the outline of text characters. • Glow: Displays onscreen controls that allow you to modify the shape, size, and position of the glow of text characters. • Drop Shadow: Displays onscreen controls that allow you to modify the shape, size, and position of the drop shadow of text characters. 920 Chapter 17 Animating Text For more information about sequencing the warping of text attributes, see Sequencing the Distortion of Style Attributes. Position Type: When offsetting text attributes such as glows and outlines from text objects that contain characters of different sizes, this pop-up menu specifies whether an attribute is offset from the text uniformly (choose Absolute), or offset based on the size of text characters (choose Relative). • Absolute: When offsetting attributes, such as glows, shadows, and so on from text objects, choose Absolute to create an even offset regardless of the size of the text characters. In the following image, the yellow glow is uniformly offset from the white text because Absolute is chosen from the Position Type pop-up menu. • Relative: When offsetting attributes, such as glows, shadows, and so on from text objects, choose Relative to create an offset based on the size of the text characters. In the following image, the yellow glow is offset from the white text based on the size of the text characters because Relative is chosen from the Position Type pop-up menu. Chapter 17 Animating Text 921 Scroll Text Behavior The Scroll Text behavior allows you to create scrolling or crawling text. Scroll Text can also be applied to other objects, such as shapes and images, to create integrated credits, prologues, and so on. When the Scroll Text behavior is applied to text, whether the text is imported (RTF or TXT files) or created in Motion, the Scroll Direction is set to Vertical by default (in the Behaviors Inspector) and the Layout Method is set to Scroll in the Layout pane of the Text Inspector. When Scroll Direction is set to Horizontal, the Layout Method is set to Crawl in the Layout pane of the Text Inspector. When the Scroll Text behavior is actively applied to text, you cannot change the Layout Method parameter unless the Allow Layout Override checkbox is selected in the Behaviors Inspector. Note: The Transform Glyph tool is not available with the Scroll or Crawl layout methods. To create a vertical scroll 1 Apply the Scroll Text behavior (from the Text Animation behavior category) to the object you want to animate. For information on applying text behaviors, see Applying a Text Behavior. Because the Scroll Direction is set to Vertical and the Start Off-Screen checkbox is selected by default, the object shifts to below the Canvas for the beginning of the scroll. The direction, position, and speed of the scroll can be changed in the Inspector or HUD. 2 Click the Play button. The object scrolls upward in the Canvas. 3 To edit the text, double-click the text in the Canvas. The text stops scrolling, the ruler appears at the top edge of the text, and the scroll control becomes available at the right edge of the text. To continue playback, deselect the text by pressing Esc or by clicking in an empty area of the Layers list or the Timeline layers list. For more information on scroll controls, see General Text Controls in the Layout Pane. 4 To customize the scroll, adjust the parameters in the Behaviors Inspector. For more information on Scroll Text behavior parameters, see Scroll Text Controls. To create a horizontal scroll 1 Apply the Scroll Text behavior (from the Text Animation behavior category) to the object to animate. For information on applying text behaviors, see Applying a Text Behavior. 2 In the Scroll Text HUD or Behaviors Inspector, select Horizontal from the Scroll Direction pop-up menu. 922 Chapter 17 Animating Text Because the Start Off-Screen checkbox is selected by default, the object shifts off the Canvas to the right for the beginning of the crawl. The text is positioned in a single line and Layout Method is set to Crawl in the Layout pane of the Text Inspector. Change the direction, position, and speed of the scroll in the Inspector or HUD. 3 Click the Play button. The object crawls left in the Canvas. 4 To edit the text, double-click the text in the Canvas. The text stops scrolling and the scroll control becomes available at the lower edge of the text. To continue playback, deselect the text by pressing Esc or clicking in an empty area of the Layers list or Timeline layers list. For more information on scroll controls, see General Text Controls in the Layout Pane. 5 To customize the scroll, adjust the parameters in the Behaviors Inspector. For more information on Scroll Text behavior parameters, see Scroll Text Controls. To change the speed of the scroll in the Timeline µ In the Timeline, do one of the following: • Drag the behavior’s bar to the left to speed up the scroll. • Drag the behavior’s bar to the right to slow down the scroll. For more information about adjusting behaviors in the Timeline, see Changing the Timing of Behaviors. Scroll Text Controls Use the parameters in the Behaviors Inspector to adjust the direction, rate, and position of the scroll. Scroll Direction: This pop-up menu sets the direction of the text scroll to Vertical or Horizontal. Speed Control: This pop-up menu sets the speed of the scroll or crawl. There are three options: • Automatic: The speed of the scroll is determined by the length of the behavior in the Timeline. In other words, the length of the behavior determines how long it takes the object to scroll or crawl across the Canvas. By default, the duration of an applied Scroll Text behavior is the same as the object or group to which it is applied. • Fixed: This option determines the speed of the scroll based on the value in the Scroll Rate parameter (pixels per second). • Custom: This option specifies the start and end positions (defined as offsets from the current position) of the scrolling object. Chapter 17 Animating Text 923 Scroll Rate Mult: This parameter control, available when Speed Control is set to Automatic, multiplies the rate of the scroll by the amount in the slider. Amounts higher than those available in the slider can be entered in the value slider (the number field at the right of the slider). Scroll Rate: This slider, available when Speed Control is set to Fixed, sets the speed of the scroll in pixels per second. Reduce Flicker: This pop-up menu modifies the speed of the scroll to reduce flickering on interlaced or progressive displays. When Scroll Direction is set to Vertical and Speed Control is set to Automatic or Custom, the options are None, Progressive, or Interlaced. When Scroll Direction is set to Horizontal and Speed Control is set to Automatic or Custom, the options are No or Yes. • None: Available when Scroll Direction is set to Vertical, this option has no effect on the speed of the scroll. • Progressive: Available when Scroll Direction is set to Vertical, this option prevents flicker on a progressive display (such as an LCD television). The Progressive setting is not guaranteed to prevent flicker on an interlaced display (such as a CRT television). • Interlaced: Available when Scroll Direction is set to Vertical, this option prevents flicker on a progressive display (such as an LCD television) or on an interlaced display (such as a CRT television). Note: Because the minimum speed to prevent flicker on an interlaced display is 2 pixels per frame, and the minimum speed to prevent flicker on a progressive display is 1 pixel per frame, the Interlaced option may result in faster scroll rates. • No: Available when Scroll Direction is set to Horizontal, this option does not modify the scroll speed to reduce flickering on interlaced or progressive displays. • Yes: Available when Scroll Direction is set to Horizontal, this option modifies the speed of the scroll to reduce flickering on interlaced or progressive displays. Allow Layout Override: This checkbox, when selected, allows the text layout be manually changed. For example, when horizontally scrolling imported RTF text, the text is placed in a single line. If the Allow Layout Override checkbox is selected, the text retains its paragraph form. Note: This parameter is available only when the Scroll Text behavior is applied to a text object. Start Off-Screen: This checkbox, when selected, moves the text to an off-Canvas position for the start of the scroll. 924 Chapter 17 Animating Text Text Tracking Behavior The Text Tracking behavior applies a rate of change to the Tracking parameter of the Format pane (in the Text Inspector). Tracking applies a uniform space between each character of text. To use the Text Tracking behavior µ Apply the Text Tracking behavior (from the Text Animation subcategory) to the text. By default, a Tracking rate of 10% is applied to text. As the project plays, the characters spread out based on the rate set in the Rate parameter of the Text Tracking behavior. Note: Like the Tracking parameter in the Format pane of the Text Inspector, the Text Tracking behavior respects the Alignment setting of the text. For example, to track from the center of the text outward, the Alignment of the text must be set to Center. This parameter is located in the text HUD or the Layout pane of the Text Inspector. Use Text Tracking parameters to modify the rate and end offset of character tracking. The identical Text Tracking behavior parameters appear in the Text Tracking HUD and in the Behaviors Inspector. Text Tracking Controls Use Text Tracking parameters to control the rate and end offset of the tracking animation. Rate: This slider controls the rate of the change in tracking values. The higher the rate, the greater the tracking values. Chapter 17 Animating Text 925 End Offset: This slider offsets the end of the effect of the Tracking parameter. By default, text characters track to the end of the duration of text. For example, to stop tracking animation 60 frames from the end of the text object (or project), drag the End Offset slider to 60 or enter 60 in the value slider. Note: Use the End Offset parameter to stop the effect of the tracking behavior before the end of the text object (or project) rather than changing the duration of the Tracking behavior in the mini-Timeline or Timeline. If you trim the end of the behavior, the text snaps back to its default tracking value at the end of the behavior. Type On Behavior The Type On behavior creates a “type-on” effect. To use the Type On behavior µ Apply the Type On behavior (from the Text Animation subcategory) to the text object. By default, the text pops on. To create a softer fade-in effect, enable Fade In in the Type On HUD or Inspector. The Type On behavior is applied over the duration of the text object. You can modify the timing of the effect (make it start later or stop sooner) by resizing the Type On behavior’s timebar (in the mini-Timeline or Timeline). Use the following guidelines to modify the default Type On behavior. Type On controls include only a single parameter: the Fade In checkbox, available in the HUD and the Behaviors Inspector. As mentioned above, the type-on effect occurs over the duration of the text object to which it is applied. In other words, if your text object is 300 frames and you apply the Type On behavior, the last text character is fully typed on at frame 300. You can shorten the duration of the behavior so the type-on effect is completed sooner. To increase the speed of the type on effect 1 Select the Type On behavior. 926 Chapter 17 Animating Text The Type On behavior bar is selected in the mini-Timeline and Timeline. 2 Do one of the following: • In the Timeline or mini-Timeline, drag the right end of the Type On bar toward the left, to the frame where you want the animation to end. As you drag the new Out point, a tooltip displays the duration and delta (amount of change) of the behavior. • Drag the playhead to the frame where you want to set the new Out point, then choose Mark > Mark Out (or press O). By the time the playhead reaches the end of the new behavior duration bar, the type on effect is complete. Note: You can also slow the type-on effect by extending the behavior beyond the duration of the text object. Type On Controls The Type On behavior contains only the Fade In parameter. Fade In: When this checkbox is selected, each text character fades in rather than appearing with the default pop effect. Note: You can also create this type of animation using the Type On parameter group in the Layout pane of the Text Inspector. For more information, see Text Controls in the Layout Pane. Preset Text Sequence Behaviors As previously noted, Text Sequence behaviors are customized, preset versions of the Sequence Text behavior in the Text Animation subcategory. (For more information on the Sequence Text behavior, see Sequence Text Behavior.) Although behaviors in the Text Sequence behavior subcategory are predefined, values can be modified and other parameters added, or existing parameters can be removed. For example, the Awaken In behavior (from the Basic group) animates text Opacity, Scale, and Rotation values (Format parameters) by default. However, you can add a parameter, such as Position, to the behavior. Text Sequence behaviors are applied to text objects in the same manner as other behaviors. However, there is one big difference between the Text Sequence behaviors and other behaviors in Motion: When added to text, Text Sequence behaviors do not last the duration of the text. However, you can modify the default duration of the behavior to slow down or speed up the effect of the animation. As with all behaviors, you can save a modified behavior to the Library as a custom behavior. For more information, see Saving a Modified Text Behavior to the Library. Clicking a Text Sequence behavior in the Library stack plays the preset animation in the preview area. Chapter 17 Animating Text 927 The following section discusses applying and customizing a preset behavior from the Text Sequence category. Customizing a Text Sequence Behavior In this section, the Flare In behavior (from the Glow group) is used to show how to modify a Text Sequence behavior. The following steps begin at the first frame of the text. To modify the Flare In behavior 1 Select the text object to be animated, then choose Text-Glow > Flare In from the Add Behavior pop-up menu in the toolbar. At the first frame, the text is not visible because Face opacity and Glow opacity are animating from 0% to 100%. 2 Click Play (or press the Space bar). The text characters fade in from 0% to 100% percent opacity, and sharpen from a blur value of 10. A glow rides the effect in as the text appears. 3 With the Flare In behavior selected, open the Behaviors Inspector (if it is not open). 928 Chapter 17 Animating Text The Inspector lists the specific text parameters used to create the animation (above the Add and Remove pop-up menus). The sequence Controls are not disclosed by default. Although most sequence Controls appear in the Flare In HUD, the Add and Remove pop-up menus (and the parameters they affect) do not. Note: In the Canvas, an editable animation path appears with the selected text. This is because Sequencing is set to Custom. For more information, see Using the Custom Sequencing Option. 4 In the Parameter row of the Behaviors Inspector, choose Format > Rotation from the Add pop-up menu. Chapter 17 Animating Text 929 A Rotation parameter is added to the sequence. Rotation parameter is added. Tip: Because most preset text sequence behaviors are keyframed, it is often helpful to see where the keyframes occur when customizing. In the Timeline, click the Show/Hide Keyframes button. The keyframes appear on the behavior’s bar. Keyframes Show Keyframes button 930 Chapter 17 Animating Text 5 Move the playhead to frame 1, then click Record to turn on keyframing. 6 In the Behaviors Inspector, set the Rotation dial to 90. 7 Play the project (press the Space bar). Because the Rotation parameter has only a single keyframe, the text remains static at 90 degrees. 8 Move the playhead to frame 30, and set Rotation to 0. Now that you’ve set a second keyframe value, the sequence is animated. Note: You can edit the keyframes in the Keyframe Editor. For more information, see Keyframes and Curves. 9 Return the playhead to frame 1 and play the project (press the Space bar). As the project plays, the text rotates from 90 degrees to 0 degrees. You can change the color or other attributes of the text glow by using the Glow controls in the Style pane of the Text Inspector. Changing the Default Settings of Text Sequence Behaviors Text Sequence behaviors use default text settings, such as glow color (yellow) and alignment (left). You can change these settings in the Inspector. To change the default glow color of a preset sequence behavior in the Text Style pane 1 Select the text sequence behavior. Chapter 17 Animating Text 931 2 In the Text Inspector, open the Style pane. Glow is not selected by default when using the preset Text Sequence behavior. However, the Color well is still accessible. 3 Without selecting the Glow checkbox, choose a color in the Color well of the Glow controls. Important: Selecting the Glow checkbox results in an additive effect: The values defined in the Style pane are added to those in the sequence behavior. This may cause the preset to change in appearance. To change the default glow color of a preset sequence behavior in the Behaviors Inspector 1 Select the text sequence behavior. 2 Open the Behaviors Inspector. 3 In the Parameter row, click the Add pop-up menu, then choose Glow > Color. The Color parameter is added to the Glow parameters in the behavior. 4 Use the Color controls to change the color of the glow. To change the default text alignment for a preset sequence behavior in the Text Format pane 1 Select the text. 2 In the Text Inspector, open the Format pane. 3 From the Alignment pop-up menu, choose Center. Setting the In and Out Points of Text Behaviors The In and Out Points of text behaviors are defined in the same way as they are for other objects. For more information, see Trimming Objects. Changing the Speed of Text Behaviors When a behavior from the Text Animation group is added to a text object, the behavior spans the duration of that text object. However, most behaviors from the Text Sequence group are much shorter than the duration of the text object. For example, with the Awaken In behavior selected, the duration of the behavior is much shorter than the duration of the text object to which it is applied. You can see this in the mini-Timeline or the Timeline. You slow down or speed up the animation by changing the duration of the behavior. 932 Chapter 17 Animating Text To slow the sequence animation 1 Select the sequence behavior. 2 Do one of the following: • In the mini-Timeline or Timeline, drag the right end of the behavior bar right (to extend the behavior) to the frame where you want the animation to end. • Go to the frame where you want to set the new Out point, then choose Mark > Mark Out (or press O). Drag edge of behavior bar to change its duration. For more information, see Trimming Objects. Note: Conversely, you can speed up the animation by shortening the duration of the behavior bar. To speed up the sequence animation 1 Select the sequence behavior. 2 Do one of the following: • In the mini-Timeline or Timeline, drag the right end of the behavior bar left (to shorten the behavior) to the frame where you want the animation to end. • Go to the frame where you want to set the new Out point, then choose Mark > Mark Out (or press O). For more information, see Trimming Objects. Saving a Modified Text Behavior to the Library As with all modified behaviors, filters, generators, and so on, you can save a modified text behavior to the Library. To save a modified behavior to the Library 1 Select the behavior to save Note: You can rename the behavior for organizational purposes. 2 In the Library, select the location where you want to store the behavior, such as the Text Sequence subcategory or Favorites category. 3 From the Layers list or Timeline, drag the behavior to the Library stack. Chapter 17 Animating Text 933 In this example, the behavior is dragged to the Favorites stack. When the green add pointer (+) appears over the stack window, release the mouse button. The behavior is saved to the Library. A custom behavior is represented by a user icon in the lower-right corner of the behavior icon. For more information on saving items to the Library and organizing custom content, see Adding Content to the Library. Using Other Behaviors with Text Because text is like all other objects in Motion, you can apply any Basic Motion, Parameter, or Simulation behavior to text objects. Because the characters of text make the object a group, you can create unique animations using Simulation behaviors. This section provides a quick overview of working with nontext behaviors applied to text. For more information on using behaviors, see Using Behaviors. Behaviors are applied to text in the same manner as other objects—by using the Library or the Add Behavior pop-up menu in the toolbar. The Library allows you to see a preview of the behavior before it is applied to text. The Add Behavior pop-up menu allows you to apply a behavior to a single or multiple text objects. To apply a nontext behavior to text Do one of the following: µ In the Library, select the Behaviors category, select a Basic Motion, Parameter, or Simulation subcategory, and then drag the behavior from the stack to the text (in the Canvas, Layers list, or Timeline). µ Select the text, then choose an item from the Add Behavior pop-up menu in the toolbar. In the following example, an animation is created in which the text moves and collides with the edge of the screen. You can set the text to hit the edge as a single object, or have each text character hit the edge one at a time. To create a text animation using nontext behaviors 1 From the Basic Motion subcategory, apply the Throw behavior to the text. 934 Chapter 17 Animating Text 2 Adjust the Throw so the text moves across the Canvas. 3 From the Simulations subcategory, apply the Edge Collision and Vortex behaviors to the text. 4 In the Inspector, select the Affect Subobjects checkbox for the Edge Collision behavior. 5 Play the project (press the Space bar). The text characters are swept around the screen in a vortex pattern. If the text characters start to move off the screen, they collide with the edge of the screen. Related Objects is the default setting in the Affect parameter of the Vortex behavior, which means that all objects in the same group are affected. You can change this to Specific Objects to select which objects are affected, or change it to All Objects. Chapter 17 Animating Text 935 Note: Behaviors often contain parameters that specify how objects to which the behavior is applied are affected. These controls influence the result of a behavior when it is applied to text. For example, if you have text on a circular path and you apply a Spin behavior to the text, the text object rotates as a whole around its anchor point. To rotate individual text characters, select the Affect Subobjects checkbox in the Spin parameters. Spin behavior applied to text on a path with Affect Subobjects turned on (the individual text characters spin) Spin behavior applied to text on a path with Affect Subobjects turned off (the text layer as a whole spins) For more information on using behaviors, see Using Behaviors. Using Behaviors to Animate Text in 3D Although text has no inherent 3D parameters, a text object can be moved and rotated in 3D space. Simulation behaviors can also influence text characters to move out of their X and Y planes into Z space. The text must be a member of a 3D group to be pulled out of the X and Y planes by a behavior. Additionally, text on a Spline path can be manipulated in 3D space. For example, you can apply an Orbit Around behavior to a text object and assign a target object that is offset in Z space. With Affect Subobjects selected and all three axes (X, Y, and Z) enabled in the Orbit Around behavior, text characters circle about the target object in X, Y, and Z space. When the Face Camera checkbox is selected (in the Text Layout pane), the text characters actively face the camera if the camera or text is rotated. Tip: When working with text in a 3D project, especially text that moves close to the camera, set the Render Quality in the View pop-up menu or the View pull-down menu to Best before exporting (choose View > Render Quality > Best). Use Normal when working in your project, because Best mode dramatically slows your project’s interactivity. You can also set the Render Quality on export in the Export Options dialog: Choose Export, click Options, then choose Best from the Render Quality pop-up menu. To customize an export, turn off the “Use current project and canvas settings” checkbox. 936 Chapter 17 Animating Text For more information about 3D effects in Motion, see 3D Compositing. Animating Text with Keyframes You can create keyframes for most of the text parameters. As with all objects in Motion, there are two ways to create keyframes: by activating the Record button in the Canvas transport controls or by manually adding a keyframe to a parameter in the Inspector. Using Keyframes Versus Using Behaviors The text animation method you use (keyframing or behaviors) depends on your project, or more specifically, your timing needs. In general, if you need an action to happen at a specific point in time in your project, use keyframing. For example, if you want text to be completely transparent at frame 1, become completely opaque at frame 60, become transparent again at frame 90, and opaque again at frame 120, use keyframing. Keyframes apply specific values to an object’s parameters at specific frames. If the effect you want is more general, use behaviors. For example, if you want the text to be completely transparent at frame 1, become opaque over frames 60–90, and become transparent by frame 120, use the Fade In/Fade Out behavior. Behaviors generate a range of values that are applied to an object’s parameters. You can combine keyframing and behaviors on all objects in Motion. For example, if you keyframe text opacity, you can then apply the Tracking behavior to animate text tracking, or you can keyframe the Tracking parameter. However, if you keyframe the text Opacity parameter and then apply a Fade In/Fade Out behavior to the text, unexpected results may occur. For more information on combining behaviors and keyframes, see Combining Behaviors with Keyframes. Animating with the Transform Glyph tool The Transform Glyph tool allows you to animate text characters independently of their text objects. To animate text characters with the Transform Glyph tool 1 Select the text object that contains the glyphs to modify. 2 Choose the Transform Glyph tool from the 2D transform tools pop-up menu in the toolbar. Selecting the Transform Glyph tool activates glyph transform handles in the Canvas and adds additional controls to the Text HUD. 3 In the Text HUD, ensure that the Attribute pop-up menu is set to Transform Glyph. Chapter 17 Animating Text 937 When Transform Glyph is selected, you can modify and animate the position, rotation, and scale of text characters. You can choose other options from the Attribute pop-up menu to activate transform handles that modify Face, Outline, Glow, and Drop Shadow parameters of text characters. 4 Move the playhead to the frame where you want the animation to begin, and click the Record button (or press A) to enable keyframing. 5 In the Canvas, select and drag glyphs to their starting position in the animation sequence. 6 Go to the frame you want the animation to end, and drag the glyphs to their ending positions. An editable animation path is created for the keyframed glyphs. You can add and remove control points and change the shape of the path in the Canvas. For more information on working with animation paths, see Manipulating Animation Paths in the Canvas. 7 Move the playhead back to the start frame and play the project (by pressing the Space bar). The glyphs animate from their starting positions to their ending positions. Note: The other options in the Attribute pop-up menu—Face, Outline, Glow, and Drop Shadow—can be animated in the same manner as the Transform Glyph option. 938 Chapter 17 Animating Text Generators are objects in the Library that you add to a project to create instant graphical treatments such as colors, bars, stripes, noise, or gradients. Some generators create animated patterns. However, most default to static, patterned images that can be animated using behaviors or keyframes. This chapter covers the following: • About Generators (p. 939) • Adding a Generator (p. 940) • Modifying Generators (p. 941) • Generator Parameters (p. 951) • Text Generators (p. 974) About Generators You add generators to a project in the same manner as other files—by dragging the generator into your project from the Library. Alternatively, you can apply generators from the Add Generator pop-up menu in the toolbar. After you add a generator, it becomes a layer in the Layers list (and Timeline) and appears in the Canvas. The generator is set to the duration and size of your project by default. For example, if you are working on an NTSC D1 project and you add a generator, the generator has a 720 x 486 (.90) pixel aspect ratio. After you add a generator, you can modify its preset values as well as animate nearly all of its parameters—whether the generator is animated or static. After you modify a generator, you can save it to the Library for later use. Note: The duration of the generator depends on the Project settings in Motion Preferences. If Create Layers At is set to “Start of project,” the generator starts at the first project frame regardless of where the playhead is when the generator is added. If set to “Current frame,” the generator starts at the playhead’s frame. 939 Working with Generators 18 Like all other objects in Motion, generators can be moved, rotated, duplicated, copied and pasted, and animated. Generators can be reordered in the Layers list and set to different blend modes. Also, as with other objects, you can apply behaviors to generators and apply Parameter behaviors to the individual parameters of a generator. You can also apply filters to generators, or use a generator as the source for a particle or replicator cell. All generators are modified, animated, and saved in the same manner. The best way to see what generators can do is to experiment with their parameters. The following sections discuss the types of generators, adding a generator to a project, modifying and animating a generator, and saving a modified generator to the Library. Applying a Parameter behavior to a generator is also discussed. For an example of editing and animating a generator, see Editing Generators. For an example of applying a behavior to a generator, see Applying Behaviors to Generators. Note: Performance may slow drastically when using generators in projects with large resolutions and with better render-quality settings. Generator Types There are two categories of generators in the Library: Generators and Text Generators. The Generator category includes static images, such as the Checkerboard generator, and images animated by default, such as the Clouds generator. Although static generators are not animated by default, you can keyframe their parameters to create an animated pattern. All Text Generators are animated. You can use any generator as is or modify its settings to create different effects. Note: Generators contain Opacity and Blend Mode controls in the HUD. As with all objects in Motion, the Opacity and Blend Mode parameters for any generator can also be modified in the Properties Inspector. Although the sliders in the Inspector are usually limited to a specific range, you can often manually enter values outside of that range in the value sliders (the numeric fields to the right of the sliders). Adding a Generator This section provides a quick introduction to adding a generator to a project. For a description of each generator, see Generator Parameters. To add a generator to a project 1 In the Library, click the Generators category. 2 In the stack, click a generator. 940 Chapter 18 Working with Generators The generator preview appears in the preview area. If the generator is animated, such as Clouds, the animation plays in the preview area. 3 Drag the generator to your project. As with other objects, you can add the generator to your project by dragging it to the Canvas, the Layers list, or the Timeline. The generator and its HUD appear in your project. (If the HUD in not visible, press F7.) The HUD contains a subset of the complete controls that appear in the Generator pane of the Inspector. Note: Generators added to a project are not added to the Media list. The Media list only includes media files imported into Motion, such as image sequences, video files, Photoshop files, and audio files. Alternatively, you can add a generator to your project by clicking the Add Generator pop-up menu in the toolbar (to the right of the New Camera and New Light buttons) and choosing an item from a submenu. Using the Add Generator pop-up menu in the toolbar is quick, but it does not provide a way to preview the generator before adding it to the project. Modifying Generators In this section, the Checkerboard generator is used to illustrate how to edit and animate a generator using the HUD. After you customize a generator, you can save it to the Library for use in future projects. This section also briefly discusses applying Parameter behaviors to the parameters of a generator. Editing Generators In this section, the Checkerboard generator parameters are edited to modify the appearance of the default generator. To edit the Checkerboard generator 1 Add the Checkerboard generator to your project. Note: For information on adding a generator to your project, see Adding a Generator. The default Checkerboard generator appears in the Canvas, Layers list, and Timeline, and the HUD appears. The Checkerboard generator HUD contains controls for editing and animating the checkerboard, such as Opacity, Blend Mode, Width, Height, Color, Size (of the checkers), and Contrast. The only Checkerboard parameters that do not appear in the HUD are Center and Pixel Aspect Ratio (which appear in the Generator Inspector). 2 In the HUD, click the Color 1 color well and select a color from the Colors window. Chapter 18 Working with Generators 941 Color 1 is replaced with the new color. 3 Click the Color 2 color well and select a color from the Colors window. Color 2 is replaced with the new color. 4 Drag the Size slider to change the size of the squares. The checker size is 80 by default. Drag the slider to the left to make smaller checkers, and to the right to make larger checkers. To change the size of the generator (rather than the size of the checkers), adjust the Width and Height parameters. Note: You can also use standard object scaling-methods—the onscreen transform controls or the Scale parameter in the Properties Inspector. However, scaling generators in this manner changes the size of the checkers and has a greater impact on your system’s performance. 5 Drag the Contrast slider to adjust the contrast between Color 1 and Color 2. 942 Chapter 18 Working with Generators Although the checkerboard pattern does not change, adjusting the Contrast parameter can create dramatically different textures. Editing Generators Using Onscreen Controls The onscreen object transform tools, such as Transform, Anchor Point, Drop Shadow, and so on, can be used to modify a nontext generator. Changes made to the generator using these tools are reflected in the Properties Inspector. The Adjust Item tool is the only tool that directly modifies a generator parameter, usually the Center or Offset parameter. These changes are reflected in the Generator Inspector. For more information on the transform tools, see 2D Transform Tools. To use the Adjust Item tool with a generator 1 Select the generator to modify. 2 Open the 2D transform tools pop-up menu in the toolbar and choose the Adjust Item tool (the last tool in the list). In the center of the Canvas, the center onscreen control appears. Chapter 18 Working with Generators 943 3 Drag the control to a new position. The Offset or Center parameter is adjusted accordingly in the Generator Inspector. Animating Generators Although most generators create static images, you can animate the parameters of a generator to create a moving texture over time. This section discusses using the Generator Inspector to animate the Checkerboard generator from the above example. Note: You can also animate the parameters of an animated generator. For information on using Parameter behaviors to animate a generator, see Applying Behaviors to Generators. To animate Checkerboard generator parameters 1 Move the playhead to the frame where you want to begin the animation. 2 Press A to turn on keyframe animation recording. 3 With the generator selected, set the initial parameter values in the Generator Inspector: a Drag the Size slider to set the initial checker size. b Click the color wells and pick the initial colors. c Drag the Contrast slider to set the initial contrast value. d Drag a Center parameter value slider to set the initial Center value. The value slider on the left of the Center parameter controls the X position of the checkers, and the value slider on the right controls the Y position. To animate checkers horizontally, use the left value slider. To animate checkers vertically, use the right slider. 944 Chapter 18 Working with Generators 4 Move the playhead to the frame where you want to create the next keyframe. 5 In the Generator Inspector, change the generator Size, Colors, and Contrast parameter values. 6 Play the project (press the Space bar). The animated generator parameters create a moving, changing texture. If you’re satisfied with the result, press A again to turn off keyframe recording. Saving Modified Generators After you modify or animate the parameters of a generator, you can save the generator to the Library. For organizational purposes, name objects that you save to the Library with a descriptive title. To save a customized generator to the Library 1 To rename the modified generator, double-click the generator name in the Layers list. 2 Type the new generator name, then press Return. 3 In the Library, navigate to the Generators category. Note: You can also save the modified generator in another category, such as Favorites. 4 From the Layers list, drag the modified generator to the Library stack. Chapter 18 Working with Generators 945 The modified generator is saved in the Generators category and appears organized alphabetically in the stack. Custom items saved in the Library are identified with a user badge in the lower-right corner of the icon. Customized generator saved in Library Sharing Saved Generators By default, any generator that you save in the Generators category in the Library is stored in your user folder: /Users/username/Library/Application Support/Motion/Library/Generators/. To share custom presets, templates, layouts, behaviors, filters, or Library content with another user, the other user must copy the files into his or her home directory. Applying Behaviors to Generators As with all other objects in Motion, you can apply Basic Motion, Parameter, or Simulation behaviors to a generator. This section describes applying the Randomize parameter behavior to the Opacity parameter of the Star generator to create a flickering star. To apply a Parameter behavior to the Star generator 1 Add the Star generator to your project and display the Generator Inspector. 2 In the Generator Inspector, move the pointer over the Spike Opacity parameter row. The Animation menu (an inverted triangle) appears on the right side of the parameter row. 946 Chapter 18 Working with Generators 3 Click the Animation menu for the Spike Opacity parameter, then choose Randomize from the Add Parameter Behavior submenu. The Randomize parameter behavior is applied to the Spike Opacity parameter, and the Behaviors Inspector is displayed so you can adjust the Randomize parameters. 4 In the Behaviors Inspector, drag the Amount slider to the right to increase the randomization effect. 5 In the transport controls (under the Canvas), click the Play button (or press the Space bar). Chapter 18 Working with Generators 947 Because the Randomize parameter behavior is applied to the opacity of the star spikes, the star appears to flicker. When a Parameter behavior is applied to a parameter of a generator, a behavior icon (a gear) appears in the Generator Inspector in the row for the affected parameter. In this example, the behavior icon appears in the Spike Opacity parameter row. The gear icon indicates that the parameter is being controlled by a behavior. To increase or decrease the effect of the flicker, you can modify the Randomize parameters (in the Behaviors Inspector). To jump to the Randomize parameters from the Generator Inspector, control-click Spike Opacity parameter name, then choose Randomize from the shortcut menu. For more information on using Parameter behaviors, see Parameter Behaviors. 948 Chapter 18 Working with Generators Using Generators as Particle Cell Sources Like other objects, generators can be used as a source for particle cells. The following example uses the Soft Gradient generator. To give your particle system more flexibility and reduce processing strain on your computer, scale the generator down in the Generator Inspector. To use a generator as a particle cell source 1 Add the Soft Gradient generator to your project. 2 In the HUD or Generator Inspector, reduce the Radius value. This example uses a Radius value of 40. 3 Reduce the Width and Height values. Chapter 18 Working with Generators 949 In this example, both are set to 100. The size of the gradient and its bounding box are scaled down. 4 With the generator still selected, do one of the following: • Press E. • In the toolbar, click the Make Particles button. After you add an emitter to the project, the new “Emitter” object is selected In the Layers list; a duplicate of the generator object (the Soft Gradient) becomes an emitter cell for the new particle system; and the original source object (the Soft Gradient generator object) is disabled. 950 Chapter 18 Working with Generators In the Canvas, the emitter bounding box appears. You can transform the bounding box using the onscreen controls or controls in the Inspector. The particle appears in the Canvas in the same location as the original object. Although it appears as if the particle is selected, the bounding box for the emitter is selected. 5 Press the Space bar to play the project. Soft gradient particles are emitted. You can change the particle color, emitter shape, scale, emission angle, birth rate, and so on in the Emitter Inspector or HUD. For more information on working with particles, see Working with Particles. Modified particles using the Soft Gradient generator as a particle cell source Generator Parameters The following sections describe common parameters and details of each generator. Chapter 18 Working with Generators 951 Parameters Common to All Generators All generators have a reset button and Width, Height, and Pixel Aspect Ratio controls, located in the Generator Inspector. The controls specific to each type of generator are discussed later in this chapter. • Reset: A button you can click to reset the generator to its default settings. Reset button • Width: A slider that sets the width of the generator, in pixels. Values range from 1 to the width of your project. • Height: A slider that sets the height of the generator, in pixels. Values range from 1 to the height of your project. • Pixel Aspect Ratio: A pop-up menu that sets the aspect ratio of the pixels drawn by the generator. Values can be selected from the following menu options: Square, NTSC D1/DV, NTSC D1/DV Anamorphic, PAL D1/DV, PAL D1/DV Anamorphic, Anamorphic 2:1, D4/D16, D4/D16 Anamorphic, HD (960 x 720, 1440 x 1080), HD (1280 x 1080), or Custom. When a value other than Custom is selected, the Pixel Aspect Ratio of that selection appears in a value field next to the pop-up menu. Enter values from 0 to 10000 in the value field. If the value does not correspond to a preset value (for example, 2 for Anamorphic 2:1), Custom appears in the pop-up menu. HUD Controls In general, Generator HUDs contain a subset of the larger group of controls located in the Generator Inspector. Additionally, the HUDs contain the Opacity and Blend Mode parameters. 952 Chapter 18 Working with Generators Important: The Opacity parameter in the HUD is identical to the Opacity control located in the Properties Inspector. This slider sets the transparency of the generator as a whole. Several generators contain a separate opacity control in the Generator Inspector, which is independent of the like-named control in the Properties Inspector. Caustics The Caustics generator creates an animated, simulated water surface. The size, speed, refraction, brightness, and color of the Caustics pattern can be modified and animated. You can use the Caustics generator to add light patterns to a project, or as the source object for an image map. Default Caustics generator Modified Caustics generator over an image Parameters in the Inspector Size: Sets the size of the shapes and spaces in the pattern. Speed: Sets the speed of movement of the light patterns. Refraction: Sets the refraction of the light shapes. Brightness: Sets the brightness of the light shapes. Color: Picks the color of the light shapes. For more precise color selection, click the disclosure triangle to display Red, Green, and Blue sliders. HUD Controls The HUD contains the following controls: Size, Speed, Refraction, Brightness, and Color. Chapter 18 Working with Generators 953 Cellular The Cellular generator creates an animated pattern that looks like cells moving under a microscope. You can change the color, size, and speed of the cells. Default Cellular generator Modified Cellular generator Parameters in the Inspector Size: Sets the size of cells in the pattern. Values range from 3 to 64. Speed: Sets the speed of movement of cells. Values range from 0 to 2. Gradient: Sets the color gradient used for cells. For information on using gradients, see Gradient Controls. HUD Controls The HUD contains the following controls: Size, Speed, and Gradient. Checkerboard The Checkerboard generator creates a static checkerboard pattern. The contrast, color, size, and position of checkerboard squares can be edited and keyframed. Default Checkerboard generator Modified Checkerboard generator Parameters in the Inspector Center: Sets the center of the generator. 954 Chapter 18 Working with Generators You can also use the Adjust Item tool to adjust this parameter using onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color 1: Picks the first color in the checkerboard. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Color 2: Picks the second color in the checkerboard. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Size: Sets the size of the squares in the checkerboard. Values range from 0 to 800. Contrast: Sets the sharpness of the division between squares. Values range from 0 to 1. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color 1, Color 2, Size, and Contrast. Clouds The Clouds generator creates an animated cloud pattern. You can modify or animate the color, scale, speed, and strength of the cloud layers. Normal Clouds Turbulent Clouds Parameters in the Inspector Horizontal Scale: Gives the appearance of zooming in or out of the simulation by horizontally scaling the generator. Larger numbers indicate a higher level of zoom. Vertical Scale: Gives the appearance of zooming in or out of the simulation by vertically scaling the generator. Larger numbers indicate a higher level of zoom. Speed: Sets the speed of movement of the clouds. Values range from 0 to 2. Gradient: Sets the color gradient used for the clouds. For information on using gradients, see Gradient Controls. Chapter 18 Working with Generators 955 Method: A pop-up menu that sets the algorithm used to generate the clouds. Values can be set to Normal (default) or Turbulent. Offset: Sets the coordinates of the center of the clouds. Coordinates are calculated from the center of your object, which is the coordinate origin. You can also use the Adjust Item tool to adjust this parameter using onscreen controls. For more information, see Editing Generators Using Onscreen Controls. 1st Layer Strength: Sets the strength of the first layer of clouds. Values range from 0 to 1. 2nd Layer Strength: Sets the strength of the second layer of clouds. Values range from 0 to 1. 3rd Layer Strength: Sets the strength of the third layer of clouds. Values range from 0 to 1. 4th Layer Strength: Sets the strength of the fourth layer of clouds. Values range from 0 to 1. HUD Controls The HUD contains the following controls: Horizontal Scale, Vertical Scale, Speed, Gradient, Method, 1st Layer Strength, 2nd Layer Strength, 3rd Layer Strength, and 4th Layer Strength. Color Solid The Color Solid generator creates a single-colored object. You can adjust the color of the solid, as well as keyframe the color to create an animated texture of changing colors. Default Color Solid generator Modified Color Solid generator Note: To create and animate a small, color-filled box or shape, use the Shape tools to draw a vector-based shape rather than creating and masking a Color Solid generator. This is more efficient in terms of processor performance and workflow. Parameters in the Inspector Color: Sets the color. For more precise color selection, click the disclosure triangle to display Red, Green, and Blue sliders. 956 Chapter 18 Working with Generators HUD Controls The HUD contains the following control: Color. Concentric Shapes The Concentric Shapes generator creates a repeating pattern of shapes. Concentric Shape Circles Concentric Shape Polygons Parameters in the Inspector Shape: Specifies the concentric shapes. There are two choices: • Circles: Creates concentric circles. • Polygons: Creates concentric polygons with a minimum of three sides. Number of Sides: Available when Polygons is selected from the Shape pop-up menu, determines the number of sides on the polygonal shape. A polygon must have at least three sides. Rotation: Available when Polygons is selected from the Shape pop-up menu, determines the orientation of the polygonal shapes. Center: Sets the center point of the generator in the Canvas. The left value slider represents X; the right value slider represents Y. To access individual X and Y controls, click the disclosure triangle. Inner Cutoff: Defines a center stopping area for the generator. A value greater than 0 creates a hole in the middle of the generator; the greater the value, the larger the hole. Objects composited below the generator in the project appear in the cutoff areas. Outer Cutoff: Defines an outer stopping area for the generator. The lower the value, the more the outer edges of the generator are cut off. Objects composited below the generator in the project appear in the cutoff areas. Color Type: Specifies color type. There are two choices: • 2 Color: Creates two-color concentric shapes. When 2 Color is chosen from the Color Type pop-up menu, the Color 1, Color 2, and Contrast parameters become available. • Gradient: Adds additional gradient parameters to the Inspector: the Gradient editor and Gradient Handling pop-up menu. Chapter 18 Working with Generators 957 For more information on gradient editors, see Using the Gradient Editor. Color 1: Available when 2 Color is selected from the Color Type pop-up menu, sets the first color in the generator. Using the default settings, this color appears in the center of the concentric shapes. Color 2: Available when 2 Color is selected from the Color Type pop-up menu, sets the second color in the generator. Gradient Handling: A pop-up menu available when Gradient is chosen from the Color Type pop-up menu; specifies whether to clamp, repeat, or mirror the gradient in the areas beyond the end of the shape (determined by the Center and Point 2 parameters). There are three choices: • Clamp to End Point: Limits the gradient to its edge (as defined by the Center and Point 2 parameter). • Mirror: Mirrors the gradient from its edge (as defined by the Center and Point 2 parameter). • Repeat: Repeats the gradient from its edge (as defined by the Center and Point 2 parameter). Width: Sets the width of the concentric shapes. Contrast: Available when 2 Color is chosen from the Color Type pop-up menu, controls the transition between the two colors. A value of 1 creates the highest contrast between the colors; lower values create less contrast, softening the shapes. Phase: Cycles through the colors or gradient. Tip: Animate the Phase parameter to create a hypnotic effect. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Shape, Number of Sides, Rotation, Inner Cutoff, Outer Cutoff, Color Type, Color 1, Color 2, Width, Contrast, and Phase. 958 Chapter 18 Working with Generators Gradient The Gradient generator initially creates a linear gradient. You can change the gradient type from linear to radial, add and remove colors in the gradient, and change the gradient start and end points. You can save a modified gradient to the Gradient category in the Library and apply it to shapes, text objects, or particle cells. Additionally, gradient controls can be keyframed to create a moving, color-changing gradient. Default Gradient generator Modified Gradient generator Parameters in the Inspector Gradient: Sets the color gradient. For information on using gradients, see Gradient Controls. Type: Sets the gradient to Linear or Radial. For more information on the Type pop-up menu, see Using the Gradient Editor. Start: Sets the starting point for the gradient. End: Sets the ending point for the gradient. End Condition: Specifies the end condition. When Radial is chosen from the Type pop-up menu in the Gradient editor, the End Condition pop-up menu becomes available. (For more information on the Type pop-up menu, see Using the Gradient Editor.) The End Condition pop-up menu has two choices: • Hold Last Tag: Extends the last color defined in the gradient editor beyond the gradient (defined by the Start and End parameters) to the edge of the Canvas. • Transparent Tag: Ends the gradient at the location defined by the Start and End parameters. Because transparency is created, objects below the gradient in the project appear beyond the end of the gradient. HUD Controls The HUD contains the following controls: Gradient, Type, Start, End, and End Condition. Chapter 18 Working with Generators 959 Grid The Grid generator creates a grid pattern made of two colored lines. By default they are white lines on a black background. Using the controls in the Inspector, you can customize the colors and line widths of the grid, and add graph paper lines. Default Grid generator Modified Grid generator (brown lines over a blue background that is set to .23 opacity, over a butterfly image) Parameters in the Inspector Offset: Sets the coordinates of the center of the grid. Coordinates are calculated from the center of your object, which is the coordinate origin. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Line Color: Sets the color of grid lines. BG Color: Sets the color of the grid background. BG Opacity: Sets the opacity of the background. Values range from 0 to 1. Feather: Sets the feathering or sharpness of grid lines. Values range from 0 to 1. Line Width: Sets the width of grid lines. Autofit: Rounds grid background width and height values to ensure that there aren’t partial columns or rows at the edge of the grid. BG Width: Sets the width of the background or space between lines. BG Height: Sets the height of the background or space between lines. Graph Paper Lines: Adds a grid pattern on top of the existing grid. With this option selected, the Graph Line Color and Graph Line Frequency controls become available. Graph Line Color: Available when the Graph Paper Lines checkbox is selected, defines the color of the “graph paper” lines. Graph Line Frequency: Available when the Graph Paper Lines checkbox is selected, sets how frequently a grid line is also a graph line. 960 Chapter 18 Working with Generators Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. HUD Controls The HUD contains the following controls: Line Color, BG Color, BG Opacity, Feather, Line Width, Autofit, BG Width, BG Height, Graph Paper Lines, Graph Line Color, and Graph Line Frequency. Lens Flare Lens flares result from a bright light source pointed right at a lens, refracting off multiple elements in the lens assembly of a camera. This filter allows you to add a simulated lens flare to an object. This filter can be used to simulate a bright light source in the picture. Original image Lens Flare applied Parameters in the Inspector Center: Sets the position of the center of the lens flare. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Size: Sets the radius of the ring of the lens flare. Intensity: Sets the intensity of the lens flare. Values range from 0 to 4. Falloff: Sets how fast the lens flare falls off. Values range from 0 to 10. Color: Picks the color of the lens flare. Click the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Outer Color: Picks the outer color of the lens flare. Ring Color: Picks the color of the ring of the lens flare. Streak Color: Picks the color of the streaks in the lens flare. Streak Intensity: Sets the intensity of the streaks. Values range from 0 to 1. Streak Count: Sets the number of streaks in the lens flare. Values range from 1 to 100. Chapter 18 Working with Generators 961 Streak Noise Frequency: Sets the frequency of the noise in the streaks. Values range from 1 to 100. Streak Noise Level: Sets the level of noise in the streaks of the lens flare. Values range from 0 to 20. Ring Radius: Sets the radius of the ring of the lens flare. Values range from 0 to 1. Ring Width: Sets the ring’s width. Values range from 0 to 1. Glow Falloff: Sets how fast the glow falls off of the lens flare. Values range from 0 to 20. Streak Map: An image well that displays a thumbnail of the map chosen for the streaks of the lens flare. For information on using image wells, see Source Well. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Size, Intensity, Falloff, Color, Outer Color, Ring Color, Streak Color, Streak Intensity, Streak Count, Streak Noise Frequency, Streak Noise Level, Ring Radius, Ring Width, Glow Falloff, and Streak Map. Membrane The Membrane generator creates a sheer, animated sheet that appears to move gracefully about in 3D space. The speed, start and end points, offset, brightness, and color can be modified and animated. To expand the animation beyond the Canvas borders, increase the Width and Height parameters in the Inspector. Default Membrane generator Modified Membrane generator (composited over a gradient) Parameters in the Inspector Speed: Sets the speed of movement of the sheet. 962 Chapter 18 Working with Generators Start 1–4: Sets the starting point for the sheet wave. Experiment with these controls to find wave shapes. End 1–4: Sets the ending point for the sheet wave. Experiment with these controls to find wave shapes. Offset: Sets the coordinates of the center of the sheet. Coordinates are calculated from the center of your object, which is the coordinate origin. Brightness: Sets the brightness of the sheet. Color: Picks the color of the membrane. Click the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. HUD Controls The HUD contains the following controls: Speed, Start 1–4, End 1–4, Offset, Brightness, and Color. Noise The Noise generator creates a random, colored static pattern. To make animated noise, you can keyframe the Random Seed parameter in the Noise HUD or Inspector. When filters are applied to an animated Noise generator, you can create unique textures. In the second image below, the Stripes distortion filter is applied to an animated Noise generator to create a vibrant, electric light-type texture. Default Noise generator Noise generator with applied Stripes filter Parameters in the Inspector Random Seed: Because each seed value creates a different noise image, modifying this value over time yields a constantly changing noise pattern. The easiest way to see and use the Random Seed parameter is to add a Ramp behavior to it (in the Parameter behavior category), then ramp from a very small random seed value to a very large random seed value over time. HUD Controls The HUD contains the following control: Random Seed. Chapter 18 Working with Generators 963 One Color Ray The One Color Ray generator creates a ray pattern based on variations of a color. You can select the color, the degree of variance, the number of divisions represented, and the rotation of the pattern. One Color Ray generator One Color Ray generator modified Parameters in the Inspector Color Space: A pop-up menu that sets the color space. Generally, if you are working in NTSC, use YIQ. If you are working in PAL, use YUV. Offset: Sets the coordinates of the ray pattern’s center. Coordinates are calculated from the center of your object, which is the coordinate origin. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color: Picks the base color. Color Variance: Sets how much the colors differ from each other. Divisions: Sets the number of divisions in the ray pattern. Rotation: Sets the rotation of the whole pattern from the center point. Sharpness: Defines the hardness of the edges of the rays. Values ranges from .25 to 1. Waviness: Positive or negative values create waves in the rays. Values range from –10 to 10. Frequency: When Waviness is set to any value other than 0, determines the number of waves in the rays. Phase: When Waviness is set to any value other than 0, defines the offset of the waves from the start and end of the rays. (Animate this value to create interesting effects.) Inner Cutoff: Defines a center stopping area for the generator. A value greater than 0 creates a hole in the middle of the generator; the greater the value, the larger the hole. Objects composited below the generator in the project appear in the cutoff areas. 964 Chapter 18 Working with Generators Outer Cutoff: Defines an outer stopping area for the generator. The lower the value, the more the outer edges of the generator are cut off. Objects composited below the generator in the project appear in the cutoff areas Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color, Color Variance, Divisions, Sharpness, Waviness, Frequency, Phase, Inner Cutoff, and Outer Cutoff. Op Art 1 There are three Op Art generators to help confuse your background-foreground senses. The Op Art generators create mathematically oriented patterns using a repetition of simple shapes. Although some static patterns create a visual illusion of movement, you can keyframe Op Art parameters to create moving moiré patterns. Default Op Art 1 generator Modified Op Art 1 generator at 50% opacity over blue rectangle Parameters in the Inspector Line Thickness: Sets the thickness of the lines in the pattern. Color 1: Sets the first color of the pattern. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. Color 2: Sets the second color of the pattern. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. Contrast: Sets how sharp or blurred the division is between the lines and the background. Wavelength 1: Sets the frequency of the wave up and down. Wavelength 2: Sets the frequency of the wave from left to right. Amplitude: Sets the amplitude of the waves. Chapter 18 Working with Generators 965 Roundness: Sets the shape of the waves. HUD Controls The HUD contains the following controls: Line Thickness, Color 1, Color 2, Contrast, Wavelength 1, Wavelength 2, Amplitude, and Roundness. Op Art 2 This generator creates mathematically oriented patterns using a repetition of simple shapes. Although some static patterns create a visual illusion of movement, you can keyframe Op Art parameters to create moving moiré patterns. Default Op Art 2 generator Modified Op Art 2 generator (composited over a second image with Blend Mode set to Soft Light in the Properties Inspector) Parameters in the Inspector Scale: Sets how close or far away the dots appear. Angle: Sets the angle of the dot rows. Dot Color: Sets the color of the dots. Background Color: Sets the color of the background. For more information on using the color controls, see Color Controls. Contrast: Sets how sharp or blurred the division is between the dots and the background. Dot Size: Sets the dot size. Compression: Sets how shallow or deep the fold in the imaginary paper appears. HUD Controls The HUD contains the following controls: Scale, Angle, Dot Color, Background Color, Contrast, Dot Size, and Compression. 966 Chapter 18 Working with Generators Op Art 3 This generator creates mathematically oriented patterns using a repetition of simple shapes. Although some static patterns create a visual illusion of movement, you can keyframe Op Art parameters to create moving moiré patterns. Default Op Art 3 generator Modified Op Art 3 generator (with Random Tile filter) Parameters in the Inspector Line Thickness: Sets the thickness of the lines in the pattern. Color 1: Sets the first color of the generator. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. Color 2: Sets the second color of the generator. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. For more information on using the color controls, see Color Controls. Contrast: Sets how sharp or blurred the division is between the lines and the background. Wavelength: Sets the frequency of the wave. Amplitude: Sets the height of the wave. Skew: Sets rotation of the wave pattern. Roundness: Sets the shape of the wave. HUD Controls The HUD contains the following controls: Line Thickness, Color 1, Color 2, Contrast, Wavelength, Amplitude, Skew, and Roundness. Chapter 18 Working with Generators 967 Soft Gradient The Soft Gradient generator creates a soft-edged, radial gradient. The gradient contains an alpha channel so you can place the generator over another image in the project. You can change and keyframe the color, size, and position of the Soft Gradient. Default Soft Gradient generator Modified Soft Gradient generator over image (yellow radial gradient in upper-left corner) Parameters in the Inspector Center: Sets the position of the center of the gradient. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color: Picks the color of the gradient. Click the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Radius: Sets the radius of the gradient circle. Values range from 0 to 1000. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color and Radius. 968 Chapter 18 Working with Generators Spirals This generator creates a repeating circular spiral pattern. Spiral default Modified Spiral Parameters in the Inspector Type: A pop-up menu that specifies whether a modern or classic spiral is created. There are two menu items: • Modern (Linear): Creates a modern spiral pattern: The color swirls remain evenly spaced as they move toward the center of the spiral. When Modern is selected, the Scale parameter becomes available. Chapter 18 Working with Generators 969 • Classic (Exponential): Creates a classic spiral pattern: The color swirls become thinner as they move toward the center of the spiral. When Classic is selected, the Tightness parameter becomes available. Center: Sets the center point of the generator in the Canvas. The left value slider represents X; the right value slider represents Y. To access individual X and Y controls, click the disclosure triangle. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color Type: Specifies whether the spirals are two-color or a gradient fill. • 2 Color: Creates two-color spirals. When 2 Color is selected from the Color Type pop-up menu, the Color 1, Color 2, and Contrast parameters become available. • Gradient: Allows you to add colors to the spiral, creating soft transitions between colors. Spiral colors are determined by the Gradient editor. You can create a custom gradient or apply a preset gradient to the spirals. For more information on using gradient editors, see Using the Gradient Editor. Color 1: Available when 2 Color is selected from the Color Type pop-up menu, sets the first color of the spiral. 970 Chapter 18 Working with Generators Color 2: Available when 2 Color is selected from the Color Type pop-up menu, sets the second color of the spiral. Gradient: Available when Gradient is selected from the Color Type pop-up menu, allows you to pick a gradient from the Library. Scale: Available when Modern is selected from the Type pop-up menu, determines the size of the spiral arms. Tightness: Available when Classic is selected from the Type pop-up menu, determines the curl of the spiral. The lower the Tightness value, the looser the spiral. Contrast: Controls the transition between the two colors. A value of 1 creates the highest contrast between colors; lower values create less contrast, softening the spiral. The Contrast parameter is not available when Gradient is chosen from the Color Type pop-up menu. Rotation: Rotates the spiral around its center. (Animate the Rotation parameter to create a hypnotic effect.) Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Type, Color Type, Color 1, Color 2, Gradient, Scale, Tightness, Contrast, and Rotation. Star The Star generator creates a glowing star shape that contains an alpha channel. The scale, width, angle, epsilon (which fine-tunes the size of the star spikes), and opacity of the spikes can be modified and keyframed, as well as the position, color, and radius of the star. Default Star generator Multiple modified Star generators over gradient Parameters in the Inspector Center: Sets the position of the center of the star. Chapter 18 Working with Generators 971 You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color: Picks the halo around the star. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. Radius: Sets the radius of the circle at the center of the star. Values range from 0 to 300. Spike Scale: Sets the size of the star spikes. Values range from 0 to 100. Spike Angle: Sets the angles of the star spikes. Spike Opacity: Sets the opacity of the star spikes. Values range from –8 to 0. Spike Width: Sets the width of the star spikes. Values range from 0 to 50. Epsilon: Fine-tunes the strength of the star spikes. Values ranges from –2 to 0. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color, Radius, Spike Scale, Spike Angle, Spike Opacity, Spike Width, and Epsilon. Stripes The Stripes generator creates a default image with vertical bands of two alternating colors. You can change and keyframe the position, colors, size, and contrast of the stripes. Animate the Center parameter to make the stripes move continuously across the screen. Default Stripes generator Modified Stripes generator used as animated background Parameters in the Inspector Center: Sets the position of the center of the stripe pattern. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. 972 Chapter 18 Working with Generators Color 1: Picks the color of the first stripe. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Color 2: Picks the color of the second stripe. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Size: Sets the width of individual stripes. Contrast: Sets the sharpness or blurriness of the edge between stripes. Values range from 0 to 1. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color 1, Color 2, Size, and Contrast. Two Color Ray The Two Color Ray generator creates a ray pattern alternating between two colors. You can select the colors, the number of divisions represented, and rotation of the pattern. Default Two Color Ray generator Two Color Ray generator modified Parameters in the Inspector Offset: Sets the coordinates of the center of the ray pattern. Coordinates are calculated from the center of the object, which is the coordinate origin. You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color 1: Picks the base color for the two-color ray. Color 2: Picks the alternating color for the two-color ray. Divisions: Sets the number of divisions in the ray pattern. Rotation: Sets the rotation of the whole pattern from the center point. Contrast: Sets the sharpness or softness of the division between rays. Chapter 18 Working with Generators 973 Waviness: Positive or negative values create waves in the rays. Values range from –10 to 10. Frequency: When Waviness is set to a value other than 0, determines the number of waves in the rays. Phase: When Waviness is set to a value other than 0, defines the offset of the waves from the start and end of the rays. Inner Cutoff: Defines a center stopping area for the generator. A value greater than 0 creates a hole in the middle of the generator; the greater the value, the larger the hole. Objects composited below the generator in the project appear in the cutoff areas. Outer Cutoff: Defines an outer stopping area for the generator. The lower the value, the more the outer edges of the generator are cut off. Objects composited below the generator in the project appear in the cutoff areas. Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Color 1, Color 2, Divisions, Rotation, Contrast, Waviness, Frequency, Phase, Inner Cutoff, and Outer Cutoff. Text Generators Other generators create background images and patterns, but Text generators use text characters to create text-and-number-based animations, such as timecode, time-and-date, or countdown animations. The Inspector for each Text generator contains four panes: Format, Style, Layout, and Generator. The first three panes (Format, Style, and Layout) control the font, size, color, outline, glow, drop shadow, and other standard text attributes. These panes are nearly identical to those in the Text Inspector for standard text layers, with two exceptions: The Text Generator Inspector has no Text editor (a field in which custom text can be typed) or an Editable in FCP checkbox. Additionally, the Text and Transform Glyph tools cannot be used to modify text in Text generators. For information on the Format, Style, and Layout panes, see Creating and Editing Text. There are four Text generators in Motion: File, Numbers, Time Date, and Timecode. The parameters in the Text Generator Inspector of each type are described below. 974 Chapter 18 Working with Generators File The File generator displays the contents of a text file. The appearance (font, weight, size, and so on) of the text in the source text file is ignored in favor of the settings in the Inspector. The text file must be in plain text (TXT) format. In a File generator, each line of text appears onscreen, holds for a moment, and then disappears before the next line appears. You can control how the text appears using the controls in the Inspector. The duration of the generator bar in the Timeline determines how long it takes for all lines of text in the source file to reveal themselves. Parameters in the Inspector Browse: Lets you specify the plain text (TXT) file to use as the text source. Speed: Sets the behavior of the text as it appears and disappears onscreen. Choose any of several options: • Constant: The text appears and disappears at a steady speed from the first word or line to the last word or line in the text file. • Ease In: The text appears at a slow speed. • Ease Out: The text disappears at a slow speed. • Ease Both: The text appears and disappears at a slow speed. • Accelerate: The text appears and disappears with increasing speed. • Decelerate: The text appears and disappears with decreasing speed. • Custom: Defines the speed of appearance and disappearance of the text by setting keyframes for the text from 0 to 100 percent using the Custom Speed slider, described below. In other words, you determine the rate of the appearance and disappearance of the text over time. Custom Speed: Allows you to keyframe the timing of the appearance or disappearance of the text. At 0 percent, none of the text has appeared; at 100 percent, the last of the text in the file is displayed (the last line or word). This slider becomes available when Custom is chosen from the Speed pop-up menu. Random: Randomizes the order in which the lines of text appear. Random Seed: Lets you change the seed number by typing a new number or clicking Generate. This changes the random calculations to display the text in a different order. HUD Controls The HUD contains the following controls: Speed and Random. Numbers The Numbers text generator displays random numbers based on settings in the Inspector. Chapter 18 Working with Generators 975 Parameters in the Inspector Animate: Enables animation of the numbers as the project plays. When deselected, a static number is displayed. Start: Sets the beginning number for the generator. Slider values range from 0 to 100. For negative numbers or numbers greater than 100, use the value slider (to the right of the slider). Default values are based on the project. For example, when the Numbers generator is added to a default project of 300 frames, the Start value is 1 and the End value is 300. Tip: You can use the Link parameter behavior to set the numbers to show values of any parameter used in your project. In some cases, the number display may appear at a scaled rate. In other cases, the number display may be translated into another form (such as a percentage). For example, if you use the Link behavior to link to the value of a point light’s Falloff parameter, the number is scaled by a factor of .1 and the Intensity parameter is displayed as a percentage. You can scale and offset the value of the linked parameter using the Scale slider in the Behavior Inspector. To convert the number to a different format, use the Format pop-up menu in the Numbers generator. For more about the Link behavior, see Link. End: Sets the ending number for the generator. Slider values range from 0 to 100. For negative numbers or numbers greater than 100, use the value slider (to the right of the slider). Default values are based on the project. For example, when the Numbers generator is added to a default project of 300 frames, the Start value is 0 and the End value is 300. If the End value is set to 200, a range of 0 to 200 is counted over the 300 frames. Format: A pop-up menu that specifies the format of displayed numbers. There are seven choices: • Number: Numbers are used in the generator. • Currency: Currency is used for the generator. The default is U.S. dollars. To change to another currency, chose an option in the Region pop-up menu. • Percent: Percentages are used for the generator. • Scientific: Scientific numbers are used for the generator. • Spell Out: Numbers are spelled out in the generator. • Binary: The binary numeral system is used for the generator. The binary system uses two symbols (0 and 1) to represent numeric values. • Hexadecimal: Hexadecimal numerals are used for the generator. This system uses 16 symbols. The symbols 0 to 9 represent the numbers 0 to 9, and the letters A through F represent 10 to 15. 976 Chapter 18 Working with Generators Tip: When using Hexadecimal or Binary formats, inputs of very large numbers are required to create change in every character in the generator. For example, if the default Start and End values of 1 and 300 are used (in a default project of 300 frames), only the last two or three digits appear animated in the Hexadecimal format. If a number such as 4,294,967,296 is used, nearly all characters are animated. Decimals: Available when Number, Currency, Percent, or Scientific is chosen from the Format pop-up menu, sets the number of decimal places. Capitalize: Uses initial uppercase letters are used when spelling out the numbers. This checkbox is available only when Spell Out is chosen from the Format pop-up menu. Minimum Digits: Available when Number is chosen from the Format pop-up menu, defines the minimum digits used in the generator. The default value is 1. Thousands Separator: Available when Number, Currency, or Percent is chosen from the Format pop-up menu, displays a comma or other character to separate thousands (based on what is chosen in the Region pop-up menu). Random: Displays numbers randomly. Random Seed: Changes the Random Seed number if you don’t like the current random number count. Enter a new number or click Generate. This changes the random calculations to display different numbers. Random Hold Frame: Specifies how long (in frames) each number is held onscreen. For example, If Random is selected and Random Hold Frame is set to 20, a number is displayed for 20 frames, then the next number is displayed and held for 20 frames, and so on. Region: Changes the region. By default, the generator uses the current system’s region. Click the Current button to set the current system’s region as the region for the generator. Click the Region pop-up menu to select another region. Note: The selected region is saved with the generator. If opened on another computer with a different regional setting, the generator retains the saved region. Chapter 18 Working with Generators 977 HUD Controls The HUD contains the following controls: Format, Decimals, and Minimum Digits. Time Date The Time Date text generator displays the date and time based on settings in the Inspector. You can create a countdown or count-up animation by defining start and end values. You can also specify time units, as well as time and date format. The default date and time are based on the computer’s system clock at the time the generator is added to the project. This can be changed in the Inspector by manually entering a value or clicking the Set Current Time button. Parameters in the Inspector Animate: Enables animation of the time and date as the project plays. The animation, such as a countdown or count up, is based on the values set in the Start and End fields. When Animate is deselected, static information is displayed. Start: Available when the Animate checkbox is selected, specifies the start date and time for the generator. This parameter can be animated using keyframes. End: Available when the Animate checkbox is selected, specifies the end date and time for the generator. This parameter can be animated using keyframes. Value: Specifies the date and time displayed in the generator. Value is not available when the Animate checkbox is selected. This parameter can be animated using keyframes. Set Current Time: Lets you set the current time in the generator. Time Units: A pop-up menu that sets the units of time used in the generator to Seconds, Minutes, Hours, Days, Months, or Years. Time Format: A pop-up menu that sets the time format used in the generator. Choose one of four options: • None: Displays no time in the generator. (The date appears in the generator if any option other than None is chosen from the Date Format pop-up menu.) 978 Chapter 18 Working with Generators • Short: Displays the time in hours and minutes. • Medium: Displays the time in hours, minutes, and seconds. • Long: Displays the time in hours, minutes, seconds, and time zone. Date Format: Sets the date format used in the generator. Choose one of five options: • None: Displays no date in the generator. (The time appears in the generator if any option other than None is chosen from the Time Format pop-up menu.) • Short: Displays the month, day, and year in all-numeral style. Chapter 18 Working with Generators 979 • Medium: Displays the month abbreviated to three letters without a period, the day, and the year. • Long: Displays the month spelled out completely, the day, and the year. • Full: Displays the day of the week and the month spelled out completely, the day, and the year. Region: Sets the region. By default, the generator uses the current system’s region. Click the Current button to set the current system’s region as the region for the generator. Click the Region pop-up menu to select another region. Padding: Adds a 0 in front of single-digit times or dates. HUD Controls The HUD contains the following controls: Set Current Time, Time Units, Time Format, and Date Format. Timecode The Timecode text generator displays timecode based on the current project or the settings in the Inspector. You can specify a specific timecode value, an offset to the current timecode, the timecode format, and the timecode base. You can also customize the color of the text and the color and opacity of the background. Parameters in the Inspector Current Timecode: Specifies the current timecode. When this checkbox is selected, the generator uses the project’s current timecode. Value: Available when the Current Timecode checkbox is deselected. Specifies the timecode value displayed. This parameter can be animated using keyframes. Offset: Available when the Current Timecode checkbox is selected. Specifies an offset value to the current timecode. This parameter can be animated using keyframes. Format: Sets the timecode format to HMSF, HMS, or frames. • HMSF: Timecode is displayed in hours, minutes, seconds, frames format. • HMS: Timecode is displayed in hours, minutes, seconds format. • Frames: Frame numbers are displayed. Timecode Base: Sets the timecode for the generator to the frame rate of the current project: 23.976, 24, 25, 29.97, 29.97 Drop, 30, 50, 59.94, 59.94 Drop, or 60. Label: Specifies a label. Text entered in the Label field is added as a prefix to the timecode displayed in the Canvas. Background Color: Sets the background color for the timecode window. By default, the background color is black. Click the disclosure triangle to access Red, Green, Blue, and Opacity sliders. 980 Chapter 18 Working with Generators HUD Controls The HUD contains the following controls: Current Timecode, Format, and Timecode Base. Chapter 18 Working with Generators 981 In Motion, filters are special effects used to modify the appearance of images and video clips. You can apply filters to obtain artistic effects (blurs, distortions, glows, stylized looks), to perform image corrections (color balancing, deinterlacing, sharpening), and to create sophisticated composting effects (green screen keying). For information on keying filters, see Keying. This chapter covers the following: • About Filters (p. 984) • Browsing and Previewing Filters (p. 985) • Applying and Removing Filters (p. 986) • Adjusting Filters (p. 988) • Keyframing Filter Parameters (p. 1001) • Applying Behaviors to Filter Parameters (p. 1004) • Publishing Filter Parameters and Onscreen Controls (p. 1005) • Blur Filters (p. 1006) • Border Filters (p. 1018) • Color Correction Filters (p. 1021) • Distortion Filters (p. 1041) • Glow Filters (p. 1066) • Sharpen Filters (p. 1072) • Stylize Filters (p. 1074) • Tiling Filters (p. 1097) • Time Filters (p. 1104) • Video Filters (p. 1106) 983 Using Filters 19 About Filters Motion filters are so easy to use, you might be tempted to adorn your kinetic graphics projects with a surfeit of visual effects. Using too many visual effects is not a good idea. The best way to think about filters is as a condiment for your project—not the entrée. A handful of thoughtful, well-executed filters goes further than a grab bag of every filter in the Library. Using too many filters adversely affects performance and can clutter and confuse the look of your project. The categories of filters in Motion are organized alphabetically in the Library. Filter types If you open a project created in a previous version of Motion containing filters or media that are no longer available, an alert message appears listing the missing or obsolete items. Note: For filter descriptions in earlier versions of Motion, see the user manual associated with that version of the application. Third-Party Filters Many third-party companies offer FxPlug filters and effects. If you install a third-party product, additional effects appear in the Filters list, usually in a separate, custom-named category. 984 Chapter 19 Using Filters Browsing and Previewing Filters Filters appear in the Filters category in the Library, organized into subcategories specific to their function (such as Color Correction, Blur, and Tiling). After you select a filter in the stack, a preview and brief description of the filter appears in the Library preview area. To browse for a filter 1 In the Library sidebar, click the Filters category. A list of subcategories appears on the right side of the sidebar. 2 Click a filter subcategory. A list of filters in that subcategory appears in the stack. 3 Click a filter in the stack to select it. A preview and short description of the filter appear in the preview area at the top of the Library. Chapter 19 Using Filters 985 Applying and Removing Filters In Motion, filters modify image layers (still images, video clips, shapes, and so on). Filters are applied to image layers in the Canvas, Layers list, or Timeline. An applied filter is attached to its target layer (or a folder containing layers), nested underneath it in the Layer’s list and Timeline layers list. Important: Some filters can cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. In 2D groups, the application of any filter causes rasterization. In 3D groups, the application of specific filters causes rasterization. For more information on rasterization, see Filters and Rasterization. To apply a filter Do one of the following: µ Drag a filter from the Library stack to an object in the Canvas, Layers list, or Timeline. µ Select an object or folder in the Canvas, Layers list, or Timeline, then select a filter from the Library stack and click Apply in the preview area. µ Select an object in the Canvas, Layers list, or Timeline, then choose an option from Add Filter pop-up menu in the toolbar. The filter is applied to an image layer. Note: Although you can apply a filter from the Library to another effects object in the Layers list (a behavior or another filter), the filter affects the parent image layer, not the effects object. To remove a filter from the Layers list or Timeline µ Select a filter that’s been applied to an object in the Layers list or Timeline and do one of the following: • Choose Edit > Delete (or press Delete). • Choose Edit > Cut (or press Command-X). • Control-click the filter and choose Cut or Delete from the shortcut menu. The filter is removed from the project. To remove a filter from the Filters Inspector µ Select a filter in the Filters Inspector and do one of the following: • Choose Edit > Delete (or press Delete). • Choose Edit > Cut (or press Command-X). 986 Chapter 19 Using Filters Special Considerations When Applying Filters to Text and Groups Filters affect text, 2D, and 3D groups in different ways. For more information on applying filters to 2D groups, see 2D Group Properties. For information on applying filters to 3D groups, see 3D Group Properties. For information on applying filters to text, see Adding Behaviors and Filters to Text. Applying Multiple Filters to an Object You can apply any number of filters to an object (image layer or folder) in Motion. When multiple filters are applied to an object, they have a cumulative effect. In the Layers list and Timeline, multiple filters appear under the object they are applied to. Layers list To apply more than one filter to an object Do one of the following: µ Select the image layer or folder to apply the filters to, Shift-select contiguous filters or Command-select noncontiguous filters in the Library, then click Apply. µ Shift-select contiguous filters or Command-select noncontiguous filters in the Library, then drag them to the image layer or folder in the Layers list, Canvas, or Timeline. The filters are applied to the image layer in the order they are selected. For example, if you select Echo, Brightness, and Bevel, in that order, and then apply them to an object, their stacking order in the Layers list is Bevel above Brightness above Echo. The stacking order of filters determines the order of application which, in turn, affects the result of the composite effect. For more information about managing filter order, see Reordering Filters. Chapter 19 Using Filters 987 Improving Performance When Using Filters In large projects with complex motion graphics, applying multiple filters can adversely affect your computer’s performance. To ensure smooth playback, there are several things you can do to optimize your use of filters. When multiple layers are affected by a filter, rather than applying the filter multiple times, place the targeted layers in a single group and apply the filter to the group. When applying filters to very large 2D groups (such as a group containing a growing particle system), select the Fixed Resolution checkbox in the Group Inspector. When Fixed Resolution is enabled, layers in the group that expand beyond the edges of the Canvas are cropped, reducing the processing load on your computer. For more information, see Fixing the Size of a Group. Adjusting Filters After you apply a filter to an object, the filter is represented in the following places in the Motion project window, allowing you to make adjustments: • In the Layers list, underneath the object it was applied to, where you can select the filter, turn its effect on or off, or lock it to prevent modification • In the Timeline layers list, underneath the object it was applied to, where you can select the filter, turn its effect on or off, or lock it to prevent modification • In the Timeline track area, as a purple bar underneath the blue bar of the object it was applied to, where you can select the filter and modify its timing by slipping or trimming the bar 988 Chapter 19 Using Filters • At the top of the Filters Inspector, where you can turn the filter’s effect on or off and adjust all its parameters using sliders and other controls Filters Inspector • In the HUD, where you can adjust many filter parameters using sliders and other controls • In the Canvas, where you can manipulate the filter’s onscreen controls The controls in the Filters Inspector give you the most precise control over the parameters of a filter. A subset of those parameter controls is available in the HUD. To modify an applied filter in the Filters Inspector or HUD 1 Select a filter in the Layers list, Timeline, or Filters Inspector. 2 Adjust parameters in the Filters Inspector or HUD. For more information about filter controls in the Layers list and Timeline layers list, see Enabling, Renaming, and Locking Filters. For more information about filter onscreen controls, see Adjusting Filter Onscreen Controls. For more information about modifying filters in the Timeline track area, see Changing Filter Timing. You can also modify filters by adding keyframes or applying Parameter behaviors. For more information, see Keyframing Filter Parameters and Applying Behaviors to Filter Parameters. Chapter 19 Using Filters 989 Enabling, Renaming, and Locking Filters Although the Filters Inspector contains editable parameters for any filter applied to an object, the Layers list and Timeline have three primary controls for each filter. Lock icon Name Activation checkbox Note: When a filter is selected, it appears in the mini-Timeline. For more information on using the mini-Timeline, see Mini-Timeline. The following filter controls appear in the Layers list and Timeline layers list: • Activation checkbox: Turns the filter on or off. Deselected filters are not rendered. • Name: Displays the name of the filter. Customize the name by double-clicking it and entering a name. • Lock: Locks or unlocks the filter. Locked filters cannot be adjusted. Adjusting Filter Onscreen Controls Many filters have onscreen controls that let you manipulate parameters visually. As you modify these controls by dragging them in the Canvas, the parameters are updated in the Inspector. To display a filter’s onscreen controls 1 Select the filter in the Layers list or Timeline. 2 If it isn’t enabled, choose the Adjust Item tool from the pop-up menu in the toolbar. 990 Chapter 19 Using Filters If the Adjust Item tool is not enabled, no onscreen controls are available for the selected filter. The onscreen controls appear in the Canvas. Note: Many filter onscreen controls adjust multiple parameters. To modify one parameter at a time, use the Filters Inspector or HUD. Chapter 19 Using Filters 991 Types of Onscreen Controls Several onscreen controls, such as Center, are common to many filters. However, some filters have unique onscreen controls. The following list provides examples of the types of controls available. If you’re unsure of an onscreen control’s function, drag it in the Canvas while viewing the Filters Inspector to see which parameter changes. • Center: This is the most common filter onscreen control. Drag in the center of the circle to reposition the filter’s Center parameter. Light Rays filter Center onscreen control 992 Chapter 19 Using Filters • Amount: This onscreen control has different representations, depending on the filter. In the Zoom Blur filter, drag the small circular handle (above the Center onscreen control) to adjust the Amount parameter. Zoom Blur filter Amount onscreen control In the Prism filter, drag the arrow handle inward or outward to adjust the Amount parameter. (Dragging the arrow in an arc adjusts the Angle parameter.) Chapter 19 Using Filters 993 • Angle: This onscreen control also has different representations, depending on the filter. In the Page Curl Filter, drag the circular middle handle to adjust the Angle parameter. Kaleidotile filter Angle onscreen control In the Kaleidotile filter, drag a corner handle to adjust the Angle parameter. 994 Chapter 19 Using Filters • Rotate/Rotation/Twirl: This onscreen control has different representations. In the Page Curl Filter, drag the outer arrow handle to adjust the Rotation parameter. In the Scrape, Stripes, and Target filters, drag the small outer handle to adjust the Rotation parameter. Scrape filter Rotation onscreen control In the Twirl filter, the small outer handle adjusts the Twirl parameter. Chapter 19 Using Filters 995 • Radius/Thickness/Size/Falloff: This onscreen control has different representations. In the Disc Warp and Circle Blur filters, drag the large ring inward and outward to adjust the Radius parameter. In the Droplet and Ring Lens filters, drag the inner ring to adjust the Radius and Thickness parameters simultaneously. Drag in the area between the inner and outer rings to adjust the Radius parameter. Drag the outer ring to adjust the Thickness parameter. Ring Lens filter Thickness onscreen control In the Vignette filter, drag the inner ring to adjust the Size parameter. Drag the outer ring to adjust the Falloff parameter. Drag in the area between the inner and outer ring to adjust both parameters simultaneously. 996 Chapter 19 Using Filters • Segment Angle/Offset Angle: This onscreen control has multiple representations. In the Kaleidoscope filter, drag the outer handle to adjust the Segment Angle parameter. Drag the middle handle (between the center and outer handle) to adjust the Offset Angle parameter. Kaleidoscope filter Offset Angle onscreen control Copying, Pasting, Moving, and Duplicating Filters Because filters modify image layers (still images, video clips, shapes, and so on), an applied filter is attached to its target layer (or folder), nested underneath it in the Layer’s list. You can copy, paste, and move filters like any other object in Motion, but a filter must be applied to an image layer or folder containing image layers. When you cut or copy a filter in the Layers list or Timeline, the copy preserves the current state of the filter’s parameters. To copy a filter Do one of the following: µ Select the filter in the Layers list, Timeline, or Inspector, then choose Edit > Copy (or press Command-C). µ In the Layers list or Timeline, Control-click the filter, then choose Copy from the shortcut menu. To paste a filter Do one of the following: µ Select the image layer or folder to apply the filter to, then choose Edit > Paste (or press Command-V). Chapter 19 Using Filters 997 µ Control-click the image layer or folder to apply the filter to, then choose Paste from the shortcut menu. The filter is applied to the image layer or folder with its parameter settings intact. Note: Pasting a filter does not paste it at the playhead location. To move the filter to the playhead location, press the Shift key while dragging the pasted object in the Timeline or mini-Timeline. As you approach the playhead location, the filter snaps into place. To move a filter 1 Drag the filter from its location onto another image layer or group. Original location 2 When the destination layer or group is highlighted, release the mouse button. The destination is highlighted. 998 Chapter 19 Using Filters To duplicate a filter Do one of the following: µ Option-drag the filter from its location onto another image layer or group. The pointer changes to indicate duplication. µ Choose Edit > Duplicate (or press Command-D). The duplicate appears with “copy” appended to its name. When you use the Duplicate command (or keyboard shortcut), the duplicate appears above the original filter. Drag the duplicate to another layer or group. If you leave the duplicate where it is, the filter will be applied twice to the current image layer. Reordering Filters Multiple filters applied to a single image layer (or folder) appear nested underneath it in the Timeline and Layers list, in the order the filters were selected in the Library. You can change the order of filter application to change how they interact. Some filters yield better results depending on the order they are applied. For instance, never apply a color correction filter after applying a blur filter. A color correction is most effective when it acts on the original image, rather than a filtered distortion of the original image. The same holds true for chroma keying operations and any other effects process requiring unmediated color information. To reorder a filter Do one of the following: µ Drag the filter name or icon up or down in the list. Chapter 19 Using Filters 999 A position indicator shows the new location for the filter. The Circle Blur filter moves above the Echo filter. µ Drag the filter name up or down in the Filters Inspector. The filters are reordered. Changing Filter Timing In Motion, the timing component of a filter is represented as purple a bar in the Timeline and mini-Timeline. Like other duration bars, filter timebars can be trimmed or moved (slipped) in their Timeline tracks to adjust the timing of an applied effect. When you apply a filter to an object, the duration of the filter defaults to the length of the object it is applied to. In the following image, the purple bar represents the filter. After you apply a filter, its duration can be modified to affect the target image for a specific amount of time. For example, applying the Circle Blur filter to an object blurs the object for the object’s entire duration. However, changing In and Out points of the Circle Blur filter bar changes how long the blur is applied to the object. To trim a filter in the Timeline 1 In the Timeline track area, position the pointer over the In or Out point (the left or right edge) of the filter bar to trim. 1000 Chapter 19 Using Filters 2 When the pointer becomes a trim pointer, drag the In or Out point to change the duration of the filter. Changing a filter’s Out point As you drag, the new In or Out point is displayed in a tooltip. Also displayed is the delta value, representing the amount of change. In addition to changing a filter’s duration, you can also slip a filter bar’s position in the Timeline track area relative to the layer under which its nested. This allows you to set the frame where a filter begins to take effect. To slip a filter in the Timeline µ Drag the filter bar left or right to move its In point (and Out point) to a new frame. The filter is moved but its duration is unaffected. While you drag, the new In and Out points are indicated, along with the amount of change (the delta). To trim or slip a filter in the mini-Timeline 1 In the Layers list or Timeline, select the filter to trim. 2 Do one of the following: • To trim the filter, position the pointer over the In or Out point (the left or right edge) of the filter bar in the mini-Timeline, then drag when the pointer changes to a trim pointer. • To slip the filter, drag the filter bar in the mini-Timeline left or right to change its position in the Timeline. Keyframing Filter Parameters Although several Motion filters are animated (Bad Film, Bad TV, and Overdrive, for example), most are not. However, it’s easy to create filter animations by using keyframes to change parameters over time. To animate filter parameters using Record 1 Select the filter to animate. Chapter 19 Using Filters 1001 2 Click the Record button (or press A) to enable recording. 3 Move the playhead to the frame where you want to add a keyframe. 4 In the Filters Inspector or HUD change the parameter to a new value. Alternatively, you can use the filter onscreen controls to modify parameters in the Canvas. A keyframe is added when you modify a parameter value. 5 Go to the next frame where you want a keyframe. 6 Repeat steps 3–5 until you finish. Click the Play button (or press the Space bar) to see the results. To animate filter parameters using the Add Keyframe button or the Animation menu 1 Select the filter to animate. 2 Move the playhead to the frame where you want to add a keyframe. 3 In the Inspector, do one of the following: • Position the pointer over the right side of the row of the parameter to animate. When the Add Keyframe button appears, click it. 1002 Chapter 19 Using Filters • Position the pointer over the right end of the parameter row, click the downward arrow to open the Animation pop-up menu, then choose Add Keyframe from the menu. Click to show the Animation pop-up menu Adding a keyframe in the Animation menu • Control-click the parameter name, then choose Add Keyframe from the shortcut menu. A keyframe is added at the current frame. 4 In the Inspector or HUD, or via the onscreen controls (if available), adjust the parameter value. 5 Go to the next frame where you want a keyframe. 6 Repeat steps 3–5 until you finish. Click the Play button (or press the Space bar) to see the results. Note: Add a keyframe before adjusting a parameter value. For more detail on using keyframes and the Animation menu, see Animation Menu. Chapter 19 Using Filters 1003 Applying Behaviors to Filter Parameters Animating filter parameters is easy using Parameter behaviors. For example, if you have an object with an applied Circle Blur filter, you can randomize the amount of blur applied to the object over time. To apply a Parameter behavior to a filter parameter 1 Select the object with the applied filter. 2 In the Filters Inspector, do one of the following: • Choose Add Parameter Behavior from the Animation pop-up menu (on the right side of the parameter row), then choose a behavior from the submenu. • Control-click the parameter name, choose Add Parameter Behavior from the shortcut menu, then choose a behavior from the submenu. A behavior icon (a gear) appears in the parameter row, and the Behaviors pane opens in the Inspector. Behaviors icon For more detailed information, see Parameter Behaviors. 1004 Chapter 19 Using Filters Publishing Filter Parameters and Onscreen Controls When you create effects templates in Motion 5 for use in Final Cut Pro X, you can choose which parameter controls are available in the special effect, title, transition, or generator when it is applied to a clip in Final Cut Pro. For example, if you create a Final Cut effect template using a Scrape filter, you can export the Rotation control to Final Cut Pro, but not the Amount or Mix sliders. In essence, you place limits on how the effect can be modified in Final Cut Pro by deciding which parameters to publish. It’s easy to publish specific filter controls, including onscreen controls, in Final Cut templates. You do so via the Publish command in the Motion Animation menu. For more information on publishing and Final Cut Pro X templates, see Creating Templates for Final Cut Pro X. To publish filter parameters in a Final Cut template 1 In an open Final Cut template project, select a filter. 2 In the Filters Inspector, do one of the following: • Click the Animation menu (the downward triangle that appears when you move the pointer over the right end of the parameter row), then choose Publish from the pop-up menu. • Control-click the parameter name, then choose Publish from the shortcut menu. Important: Choosing Publish in the filter name row (the row containing the blue activation checkbox) publishes the filter’s on/off checkbox—but not parameter controls for the filter (sliders, dials, and so on). Publishing a filter’s checkbox allows you to turn on or off all published parameters simultaneously in Final Cut Pro X. Chapter 19 Using Filters 1005 To publish a filter’s onscreen controls 1 In the open template project, select a filter. 2 In the Filters Inspector, select the Publish OSC checkbox. To review parameters set to be published in your template 1 In the Layers list, click the Project object. 2 In the Project Inspector, click Publishing. All parameters (for all object types) set to be published appear in the Publishing pane. Note: Published filter onscreen controls do not appear in the Publishing pane. To unpublish filter parameters in the Filters Inspector µ In the Filters Inspector, do one of the following: • Click the Animation menu (the downward triangle that appears when you move the pointer over the right end of the parameter row), then choose Unpublish from the pop-up menu. • Control-click the parameter name, then choose Unpublish from the shortcut menu. To unpublish filter parameters in the Publishing pane 1 In the Layers list, click the Project object. 2 In the Project Inspector, click Publishing, then do one of the following: • Click the Animation menu (the downward triangle that appears when you move the pointer over the right end of the parameter row), then choose Unpublish from the pop-up menu. • Control-click the parameter name, then choose Unpublish from the shortcut menu. Blur Filters Blur filters take many forms in Motion. They can be used to simulate the real-world blurring that occurs due to the depth of field in photographed material. They can also be used to create designed effects. Channel Blur Gives you control over blurring each color channel of an object. The Channel blur can be applied selectively to each color channel of an object: red, green, blue, and alpha. 1006 Chapter 19 Using Filters Blurring individual channels allows you to create customized glow effects by retaining sharpness in selected channels while softening others. Original image Amount = 15, Blur Red On Parameters in the Inspector Amount: Sets the radius of the object blur. Blur Red: Sets the blur to affect the red channel. Blur Green: Sets the blur to affect the green channel. Blur Blue: Sets the blur to affect the blue channel. Blur Alpha: Sets the blur to affect the alpha channel. Horizontal: Sets the percentage of maximum horizontal blur. This is a percentage of the Amount parameter. Vertical: Sets the percentage of maximum vertical blur. Crop: Sets whether the image is cropped beyond its original borders. Mix: Sets the percentage of the original image to be blended with the blurred image. HUD Controls The HUD contains the following controls: Amount, Blur Red, Blur Green, Blur Blue, and Blur Alpha. Circle Blur Creates a circular blur within an image, specified by a center point that sets the center of the blur effect and a radius that sets the size of the affected region. The amount of blur in the affected area can also be customized. This filter is useful for blurring a limited area in an image. For more sophisticated control of the image region to be blurred, use the Compound Blur filter. Chapter 19 Using Filters 1007 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Center of Circle Blur on the right side of crab Parameters in the Inspector Center: Sets the position of the center of the blur effect. Drag the Center onscreen control to adjust its value in the Canvas. Amount: Sets the amount of the blur. Radius: Sets the radius of the circle defining the blurred area. Drag the outer circle of the onscreen controls to adjust the Radius value in the Canvas. Crop: Sets whether the image is cropped beyond its original borders. Mix: Sets the percentage at which the original image is blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount, Radius, and Crop. Compound Blur Blurs an object using the specified channel of a designated map image. You can use any shape, text object, still image, or movie file as the map image. You can select any red, green, blue, alpha, or luminance channel to create the shape of the blur. Tip: Use this filter to blur specific sections of an image. For example: trace the subject of the image to blur with a Bezier or B-spline shape, then assign this shape as the Blur Map image. Use its Luminance or Alpha channel to define the blurred area, then turn off the original shape object in the Layers list or Timeline to hide the source of the blur. For more information, see Editing Shapes. 1008 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Map image Compound Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Blur Map: Displays a thumbnail of the current map. To add an object (image, shape, text, and so on) to use as the blur map, drag the object to the Blur Map well. Note: You can also apply or replace the blur map by dragging the source object onto the filter in the Layers list. Map Channel: Sets the channel to be blurred. The blur is applied to the red, green, blue, alpha, or luminance channel. Invert Map: Sets whether the blur map is inverted. Stretch Map: Stretches (or compresses) the map image so it exactly overlaps the image the filter is applied to. Horizontal: Sets the percentage of maximum horizontal blur. Vertical: Sets the percentage of maximum vertical blur. Mix: Sets the percentage of the original image to be blended with the blurred image. Chapter 19 Using Filters 1009 HUD Controls The HUD contains the following controls: Amount, Blur Map, and Map Channel. Defocus Mimics the out-of-focus effect that occurs through a real-world camera lens. The Defocus filter blurs an image while creating realistic lens artifacts that mimic the aperture shape in brighter areas of the image. The shape of the blur can be customized. Tip: Use this filter when you are trying to blur an image to match video or stills shot with a camera. For example, if you key a woman standing in front of a blue screen, and you intend to place a background image behind her to make it look like she’s standing in a valley with mountains in the background, use the Defocus filter instead of a Gaussian Blur to create a realistic depth-of-field effect for the mountains in the distance. Original image Defocus applied Parameters in the Inspector Amount: Sets the radius of the defocus. Gain: Sets the amount of gain applied to the high luminance areas. Shape: Sets the shape of the lens aperture to Circle or Polygon. Sides: Sets the number of sides of the lens aperture, if Shape pop-up menu is set to Polygon. Rotation: Sets the angle of rotation of the polygonal lens aperture, if Shape is set to Polygon. Aspect Ratio: Sets the aspect ratio of the lens aperture. Crop: Sets whether the blur is cropped at the object’s original border. Mix: Sets the percentage of the original image to be blended with the blurred image. HUD Controls The HUD contains the following controls: Amount, Gain, Shape, Sides, Rotation, and Aspect Ratio. 1010 Chapter 19 Using Filters Directional Blur Blurs an object along a specific angle. This filter creates a blurred streaking effect. Note: The more filters you use in a project, the more you impact the performance of Motion. Original image Directional Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Drag the arrow onscreen control to adjust the amount (and angle) of the blur in the Canvas. Angle: Sets the angle of the direction of movement. Drag the arrow onscreen control to adjust the angle (and amount) of the blur in the Canvas. Crop: Sets whether the blur is cropped at the object’s original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount and Angle. Gaussian Blur Creates a soft blur effect. The Gaussian blur is the softest blur effect you can apply and is a frequently used blur effect. By default, this filter affects the image uniformly, although you can control the amount of horizontal and vertical blur independently. Chapter 19 Using Filters 1011 Gaussian blur is relevant for most motion graphics tasks, and can be animated for various focus-control effects. However, to more accurately simulate camera focus, the Defocus filter might be a better choice. For more information on the Defocus filter, see Defocus. Original image Gaussian Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Horizontal: Sets the percentage of the Amount applied in the horizontal direction. Vertical: Sets the percentage of the Amount applied in the vertical direction. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. HUD Controls The HUD contains the following controls: Amount, Horizontal, and Vertical. Gradient Blur Creates a graduated blur between two points. Point one is the beginning of the blur, and the point at which the image is at its sharpest. Point two is the end of the blur, and the point at which the image is at its blurriest, depending on the value set in the Amount parameter. 1012 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Point 1 upper left, Point 2 lower right Parameters in the Inspector Point 1: Sets the position of the start point of the gradient. Drag the Point 1 onscreen control (the lower-left point) to adjust the X and Y position of the blur start point in the Canvas. Point 2: Sets the position of the end point of the gradient. Drag the Point 2 onscreen control (the upper-right point) to adjust the X and Y position of the blur end point in the Canvas. Amount: Sets the radius of the blur. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount and Crop. Chapter 19 Using Filters 1013 Prism Blurs and refracts the image as if seen through a prism, creating a rainbow effect. Original image Prism applied Parameters in the Inspector Amount: Sets the radius of the blur. Drag the arrow onscreen control inward and outward to adjust the amount (and angle) of the blur in the Canvas. Angle: Sets the angle of refraction. Drag the arrow onscreen control in an arc to adjust the angle of the blur in the Canvas. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred and refracted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount and Angle. 1014 Chapter 19 Using Filters Radial Blur Creates a rotational blur centered on a point. The effect is similar to the motion blur you would see if an image were spinning quickly. Original image Radial Blur applied Parameters in the Inspector Center: Sets the position of the center of the radial blur. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the blur. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle and Crop. Chapter 19 Using Filters 1015 Soft Focus Creates an effect similar to duplicating an object, applying the Screen blend mode to composite the object against itself, then blurring an overlapping object—within a single filter. The Strength parameter controls how much of the blurred image is added back to the original image. Original image Soft Focus applied Parameters in the Inspector Amount: Sets the radius of the blur. Strength: Sets the amount of opacity of the blurred composite. Horizontal: Sets the percentage of the maximum horizontal blur. Vertical: Sets the percentage of the maximum vertical blur. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. HUD Controls The HUD contains the following controls: Amount and Strength. Variable Blur Creates a tunnel focus effect with a blur applied inside or outside a circular region. If the inner radius of the circle is larger than the outer radius of the circle, the blur is applied inside the circle. 1016 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Variable Blur (outside of circle) Parameters in the Inspector Center: Sets the position of the center of the circle. Drag the center onscreen control to adjust its value in the Canvas. Amount: Sets the percentage of the blur. Inner Radius: Sets the inner radius of the circle. Outer Radius: Sets the outer radius of the circle. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount, Inner Radius, Outer Radius, and Crop. Chapter 19 Using Filters 1017 Zoom Blur Creates a blur that simulates a fast camera zoom-in to a point. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Zoom Blur applied Parameters in the Inspector Look: Sets the type of blur operation. This pop-up menu has two options: • Variable: The blur increases toward the edges of the image. This option is faster when using high blur values. • Uniform: The blur is consistent from the center of the image outward. Amount: Sets the radius of the blur. Drag the small circle (above the Center onscreen control) to adjust the amount of the blur in the Canvas. Swirl: Sets the quantity and direction of the swirl. Positive and negative values affect the direction of the swirl. Center: Sets the position of the center of the blur. Drag the Center onscreen control to adjust its value in the Canvas. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the blurred image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Look, Amount, and Swirl. Border Filters Allow you to frame objects in a composition in various ways. 1018 Chapter 19 Using Filters Bevel Creates a bevelled border around the edges of an image by superimposing an angled frame over the original image. The simulated direction of reflected light and opacity of the bevel can be adjusted to vary the effect. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bevel applied Parameters in the Inspector Light Angle: Sets the angle at which the light hits the bevel. Bevel Width: Sets the width of the bevel as a percentage of the area of the object. Opacity: Sets the opacity of the bevel, ranging from 0 (invisible) to 1.0 (opaque). Light Color: Picks the color of the light hitting the bevel border. Color controls can be expanded with the disclosure triangle to include Red, Green, and Blue sliders to more precisely select colors. Mix: Sets the percentage of the original image to be blended with the beveled image. HUD Controls The HUD contains the following controls: Light Angle, Bevel Width, Opacity, and Light Color. Chapter 19 Using Filters 1019 Simple Border Creates a solid color border of variable width around the edges of an image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Border applied Parameters in the Inspector Width: Sets the thickness of the border. Color: Picks the color of the border. The color controls can be expanded with the disclosure triangle to include Red, Green, Blue, and Opacity sliders to more precisely select the color of the border. Mix: Sets the percentage of the original image to be blended with the bordered image. HUD Controls The HUD contains the following controls: Width and Color. Widescreen “Letterboxes” an object by masking the object at its top and bottom to simulate different video and film aspect ratios. Because this filter masks the image, what appears behind the object is the background color of the project or the object beneath the masked object in the composite. You can add a border to the masked image and customize the color and size of the border. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. 1020 Chapter 19 Using Filters Note: Because the Widescreen filter masks the object it is applied to, the object is not cropped and retains its original shape. Original image Widescreen applied Parameters in the Inspector Aspect Ratio: Sets the aspect ratio of the mask. Values include 1.66:1, 1.70:1, 1.78:1, 1.85:1, 2.35:1, 2.55:1, and 3.00:1. Offset: Sets the position of the mask relative to the Y center of the object. Values range from –1.0 (the bottom of the object) to 0 (the center of the object) to 1.0 (the top of the object). Border Size: Sets the thickness of the border. Note: The border has no effect on the aspect ratio mask. It adds a frame at the edge of the image created by the mask. Border Color: Picks the color of the border. Color controls can be expanded with the disclosure triangle to include Red, Green, Blue, and Opacity sliders to more precisely select the color of the border. Mix: Sets the percentage of the original image to be blended with the letterboxed image. HUD Controls The HUD contains the following controls: Aspect Ratio, Offset, Border Size, and Border Color. Color Correction Filters Color correction filters can be used in a number of ways. For example, you can change a mood by making an image sepia colored, or you can make your object stand out by oversaturating it. In addition, these filters can fix a problem with contrast, color, gamma, or brightness. Brightness Boosts or lowers the uniform brightness of an image by a specified amount. Chapter 19 Using Filters 1021 Although this may seem to be the first filter to use to correct for improper exposure in an image, Brightness boosts or lowers everything in an image at once. This means that raising the brightness in an image raises brightness everywhere, including in the shadows. Consequently, a brightened image can look washed out. However, this filter is useful for modifying the edges and effects of shapes, masks, particle systems, and generators. A better filter for exposure correction is the Gamma filter. For more information, see Gamma. Original image Brightness filter applied Parameters in the Inspector Brightness: Sets the multiplying brightness value applied to the object. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following control: Brightness. Channel Mixer Allows cross-mixing of red, green, blue, and alpha channels into one another. The Channel Mixer filter’s main parameters are divided into four sections—Red Output, Green Output, Blue Output, and Alpha Output—each of which manipulates an individual channel. In each section, you can adjust the value of the relevant color channel added to or subtracted from the red, green, blue, and alpha channels. Parameters in the Inspector Red - Red: Sets the amount of input red added to the output red. The default value is 1.0, which leaves the red channel unmodified. As this value increases, the output value of red increases by the amount of input red multiplied by the value of Red - Red. 1022 Chapter 19 Using Filters Red - Green: Sets the amount of input green added to the output red. The default value is 0, which leaves the red channel unmodified. As this value increases, the output value of red increases by the amount of input green multiplied by the value of Red - Green. Red - Blue: Sets the amount of input blue added to the output red. The default value is 0, which leaves the red channel unmodified. As this value increases, the output value of red increases by the amount of input blue multiplied by the value of Red - Blue. Red - Alpha: Sets the amount of input alpha added to the red channel. The default value is 0, which leaves the red channel unmodified. As this value increases, the value of red increases by the amount of input alpha multiplied by the value of Red - Alpha. Green - Red: Sets the amount of input red added to the output green. The default value is 0, which leaves the green channel unmodified. As this value increases, the output value of green increases by the amount of input red multiplied by the value of Green - Red. Green - Green: Sets the amount of input green added to the output green. The default value is 1.0, which leaves the green channel unmodified. As this value increases, the output value of green increases by the amount of input green multiplied by the value of Green - Green. Green - Blue: Sets the amount of input blue added to the output green. The default value is 0, which leaves the green channel unmodified. As this value increases, the output value of green increases by the amount of input blue multiplied by the value of Green - Blue. Green - Alpha: Sets the amount of input alpha added to the green channel. The default value is 0, which leaves the green channel unmodified. As this value increases, the value of green increases by the amount of input alpha multiplied by the value of Green - Alpha. Blue - Red: Sets the amount of input red added to the output blue. The default value is 0, which leaves the blue channel unmodified. As this value increases, the output value of blue increases by the amount of input red multiplied by the value of Blue - Red. Blue - Green: Sets the amount of input green added to the output blue. The default value is 0, which leaves the blue channel unmodified. As this value increases, the output value of blue increases by the amount of input green multiplied by the value of Blue - Green. Blue - Blue: Sets the amount of input blue added to the output blue. The default value is 1.0, which leaves the blue channel unmodified. As this value increases, the output value of blue increases by the amount of input blue multiplied by the value of Blue - Blue. Blue - Alpha: Sets the amount of input alpha added to the blue channel. The default value is 0, which leaves the blue channel unmodified. As this value increases, the value of blue increases by the amount of input alpha multiplied by the value of Blue - Alpha. Alpha - Red: Sets the amount of input red added to the output alpha. The default value is 0, which leaves the alpha channel unmodified. As this value increases, the output value of pixels with nontransparent alpha increases by the amount of input red multiplied by the value of Alpha - Red. Chapter 19 Using Filters 1023 Alpha - Green: Sets the amount of input green added to the output alpha. The default value is 0, which leaves the alpha channel unmodified. As this value increases, the output value of pixels with nontransparent alpha increases by the amount of input green multiplied by the value of Alpha - Green. Alpha - Blue: Sets the amount of input blue added to the output alpha. The default value is 0, which leaves the alpha channel unmodified. As this value increases, the output value of pixels with nontransparent alpha increases by the amount of input blue multiplied by the value of Alpha - Blue. Alpha - Alpha: Sets the amount of input alpha added to the output alpha channel. The default value is 1.0, which leaves the alpha channel unmodified. As this value increases, more alpha is added to the pixels in the alpha channel. Values above 1 have no effect, unless the alpha is eroded by negative values in other alpha parameters. Monochrome: Sets the filter to monochrome mode. In monochrome mode, all three color channels are affected by the Red controls. Allow Mono > 1: Allows monochromatic color channels to be set to values greater than 1. By default, this checkbox is selected. Color values are normally between 0 and 1, but can go over 1 or below 0 because the project’s bit depth is set to 16 bits per channel. If this checkbox is deselected, each Red color output control is linked. Moving any of them causes the others to adjust so the total value remains at 1.0. The filter must be in monochrome mode for this parameter to be active. Include Alpha: Sets whether to include the alpha channel in the mono calculation. The filter must be in monochrome mode for this parameter to be active. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Red - Red, Red - Green, Red - Blue, Red - Alpha, Green - Red, Green - Green, Green - Blue, Green - Alpha, Blue - Red, Blue - Green, Blue - Blue, Blue - Alpha, Alpha - Red, Alpha - Green, Alpha - Blue, Alpha - Alpha, Monochrome, Allow Mono > 1, and Include Alpha. 1024 Chapter 19 Using Filters Color Balance Color balance refers to the relative strength of the red, green, and blue channels that constitute an image. For example, a blue-tinted image has a strong blue channel and weaker green and red channels. The Color Balance filter lets you adjust the relative balance of all three color channels of an image at once—for example, lowering the blue channel and raising the red and green channels to reduce blue tinting and yield an image that appears more orange and warm. Color balance also relates to color temperature, which describes the quality of light in an image. For example, sunlight is generally more bluish than tungsten light, which is more orange. In professional film and video productions, white-balancing the camera before shooting usually ensures that whites in an image are neutral (with all three color channels balanced evenly). However, film stocks, optical filters, and digital white-balance settings can modify the tint of an image. Note: The imbalanced color channels caused by a dominant color temperature in the lighting of an image is often referred to as a color cast. You can use the Color Balance filter to adjust the three color channels of an image to eliminate a color cast or introduce one. Here are some uses for the Color Balance filter: • To correct problems in lighting—for example, rebalancing an image that’s too orange to appear more neutral. • To match two images to one another—for example, matching the quality of light on an actor in a foreground green screen clip to the lighting in a background image. Chapter 19 Using Filters 1025 • To stylize the color of an image used in a creative composition—for example, creating a high-contrast, blue-tinted silhouette from the image of two actors dancing for a title sequence. The Color Balance filter doesn’t just let you rebalance the overall strength of an image’s three color channels, it also lets you rebalance color specifically in three tonal zones of an image: shadows, midtones, and highlight. Three correspondingly named color controls let you make color balance adjustments in each zone of image tonality. To make an adjustment to a zone, click the corresponding color well to open the Mac OS Colors window, then drag in the color wheel. As you drag, the image updates. Dragging in a specific hue’s direction rebalances the image, tinting it with that hue. The farther towards the edge of the color wheel you drag, the more intensely you tint the image. Tip: You can use any controls in the Mac OS X Colors window to make color adjustments, including sliders, web-safe colors, and the magnifying glass picker. Further, you can save frequently used tints by dragging a color from the color bar at the top to an empty white swatch below. Clicking a filled swatch selects that color. 1026 Chapter 19 Using Filters The adjustments to shadows, midtones, and highlights of an image overlap widely. For example, adjustments to shadows affect the darkest parts of the image the most, but the effect also influences midtones and lower highlights. This overlap ensures that adjustments you make blend seamlessly with the original colors of the image. For a practical example of using the Color Balance filter, see Matching Two Composited Layers Using the Color Balance Filter. Note: Although you can make small contrast adjustments using the vertical lightness slider in the color wheel pane of the Colors window, it’s better to use the Contrast or Levels filters to make adjustments to the overall lightness and darkness of an image. Parameters in the Inspector Shadows: Adjusts color channels in the darkest regions of the image. Click the color well to open the Colors window, then adjust the color balance of the darkest portion of the image. An eyedropper lets you sample any color in the Canvas to use for balancing the image. You can also click the disclosure triangle to reveal individual red, green, and blue channel sliders, with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color). • Red: Adjusts the color gain applied to the shadow range of the red color channel. • Green: Adjusts the color gain applied to the shadow range of the green color channel. • Blue: Adjusts the color gain applied to the shadow range of the blue color channel. Midtones: Adjusts color channels in midtone regions of the image. Click the color well to open the Colors window, then adjust the color balance of the range of color falling between shadows and highlights. An eyedropper lets you sample any color in the Canvas to use for balancing the image. You can also click the disclosure triangle to reveal red, green, and blue channel sliders with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color). • Red: Adjusts the color gain applied to the midtone range of the red color channel. • Green: Adjusts the color gain applied to the midtone range of the green color channel. • Blue: Adjusts the color gain applied to the midtone range of the blue color channel. Highlights: Adjusts color channels in the lightest regions of the image. Click the color well to open the Colors window, then adjust the color balance of the brightest portion of the image. An eyedropper lets you sample any color in the Canvas to use for balancing the image. You can also click the disclosure triangle to reveal red, green, and blue channel slider with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color). • Red: Adjusts the color gain applied to the highlights of the red color channel. • Green: Adjusts the color gain applied to the highlights of the green color channel. • Blue: Adjusts the color gain applied to the highlights of the blue color channel. Chapter 19 Using Filters 1027 Clip Color Values: Turns clipping on and off. Clipping prevents color adjustments from forcing color values out of the allowable digital range. Clipping can prevent illegal signal levels in clips that are output to video. This pop-up menu has four options: • None: No clipping occurs. • At White: Any color channel exceeding the maximum value of 1 is clipped to 1. • At Black: Any color channel falling below the minimum value of 0 is clipped to 0. • At Black and White: All color channels are clipped to a minimum of 0 and a maximum of 1. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Shadows, Midtones, Highlights, and Clip Color Values. Matching Two Composited Layers Using the Color Balance Filter This example demonstrates how to use the Color Balance filter to match the color of a green-screened foreground image to a background plate. A green screen clip has been composited with a background layer using the Keyer filter. (For information about using the Keyer filter, see Using the Keyer Filter.) The background layer has already been modified with the Defocus and Contrast filters to appear moody and blurred (simulating a shallow depth of field). 1028 Chapter 19 Using Filters Although the key is successful, the light illuminating the woman doesn’t quite match the light that illuminates the background. You can fix this using the Color Balance filter. To match a foreground subject to a background image using the Color Balance filter 1 Open the Library, click the Filters category, then click the Color Correction category to reveal the color correction filters in the stack. 2 Drag the Color Balance filter from the stack to the Layers list, onto the topmost layer of the composite (the keyed foreground layer). Color Balance filter appears on top of the Keyer filter in the Layers list. 3 Open the Inspector. The Color Balance filter appears at the top of the Filters inspector. 4 Click the Highlights color well. Highlights are often a good place to start when you need to match the color temperature of one image to another. Chapter 19 Using Filters 1029 5 When the OS X Colors window appears, drag from the center of the color wheel toward orange, which is the predominant color of the background layer’s lighting. As you drag in the color wheel, the color of highlights in the Canvas changes, with the color in the brightest highlights of the foreground image changing the most. Midtones are less affected, and shadows aren’t affected at all. Before After Color Balance Stop adjusting when the color of the foreground layer’s highlights matches the color of similar highlights in the background. Tip: You can also use the eyedropper tool in the Highlights color control to sample a highlight color in the background layer. (Click the eyedropper, then click a color in the background). This can be a simpler adjustment, but it can also be tricky to sample the best color for a natural-looking match. 1030 Chapter 19 Using Filters Color Reduce Reduces the full range of color in an image to two, three, or four colors that you select. Depending on the number of substitute colors you choose in the Reduce To parameter, this filter breaks down the full range of colors in the image into a color range for each Match Color parameter that’s available. The filter then substitutes the selected Replace With color for each interpreted range of color. If two colors are selected, color information in the object is reduced to the selected two colors; if three colors are selected, color information is reduced to three colors; and so on. Original image Color Reduce defaults applied Parameters in the Inspector Smoothness: Sets the smoothness of the transitions between reduced areas. Values range from 0 (hard edges) to 1 (smooth blending). Reduce To: Selects the number of colors in the reduced object. Choices are 4 Colors, 3 Colors, or 2 Colors. Match Color 1: Picks the color of the first selection color for reduction. The color controls can be expanded with the disclosure triangle to reveal Red, Green, and Blue sliders for more precise color selection. Replace With: Picks the color that is substituted for the selection determined by Color 1. Match Color 2: Picks the color of the second selection color for reduction. Replace With: Picks the color that is substituted for the selection determined by Color 2. Match Color 3: Picks the color of the third selection color for reduction. This parameter is used only if Reduce To is set to 3 Colors or 4 Colors. Replace With: Picks the color that is substituted for the selection determined by Color 3. This parameter is used only if Reduce To is set to 3 Colors or 4 Colors. Match Color 4: Picks the color of the fourth selection color for reduction. This parameter is used only if Reduce To is set to 4 Colors. Chapter 19 Using Filters 1031 Replace With: Picks the color that is substituted for the selection determined by Color 4. This parameter is used only if Reduce To is set to 4 Colors. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Smoothness, Reduce To, Match Color 1, Replace With, Match Color 2, Replace With, Match Color 3, Replace With, Match Color 4, and Replace With. Colorize Substitutes the blacks and whites in an image with colors you select. All other colors in the image are remapped to a duochrome range that falls between these two colors. Interesting colorized negative effects can be achieved by remapping the blacks in an image to a lighter color than the whites. Original image Colorize with defaults Parameters in the Inspector Remap Black To: Sets the color that is mapped to black. The color controls can be expanded with the disclosure triangle to include Red, Green and Blue sliders to more precisely select the color. Remap White To: Sets the color that is mapped to white. The color controls can be expanded with the disclosure triangle to include Red, Green, and Blue sliders to more precisely select the color. Intensity: Sets the strength of the colorization. Values range from 0 (no colorization) to 1.00. Mix: Sets the percentage at which the original image is blended with the color-corrected image. HUD Controls The HUD contains the following controls: Remap Black To, Remap White To, and Intensity. 1032 Chapter 19 Using Filters Contrast Adjusts the difference between the lightest and darkest parts of an image. Original image Contrast filter applied Parameters in the Inspector Contrast: Sets the amount of contrast to be applied to the object. Pivot: Sets the point around which the contrast is adjusted. The point of contrast adjustment is the level that is displayed if Contrast is set to 0. Clip Color Values: Turns clipping on and off. Clipping prevents color adjustments from forcing color values out of the allowable digital range. Clipping can prevent illegal signal levels in clips that are output to video. This pop-up menu has four options: • None: No clipping occurs. • At White: Any color channel exceeding the maximum value of 1 is clipped to 1. • At Black: Any color channel falling below the minimum value of 0 is clipped to 0. • At Black and White: All color channels are clipped to a minimum of 0 and a maximum of 1. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Contrast, Pivot, and Clip Color Values. Gamma Adjusts the relative distribution of brightness in the midtones of an image, without adjusting the white and black points. The perceived result is to brighten and darken the areas of medium brightness in an image, while leaving the highlights and shadows untouched. This avoids a washed-out effect. Chapter 19 Using Filters 1033 This is one of the most useful filters for correcting poor exposure in images, and should almost always be used first before trying the Brightness filter. Original image Gamma filter applied Tip: When opening projects created in earlier versions of Motion, previous gamma adjustments may be lost. Use the Gamma filter to reproduce the effect. Parameters in the Inspector Gamma: Sets the gamma correction. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following control: Gamma. Gradient Colorize Uses each pixel’s color value to determine the application of a color value from a gradient. Original image Gradient Colorize with Rainbow gradient Parameters in the Inspector Gradient: Selects a gradient preset to be applied to the object. Is also used to edit a custom gradient. 1034 Chapter 19 Using Filters For more information on using the Gradient editor, see Using the Gradient Editor. Offset: Sets an amount, in degrees, that the color wheel is offset to determine color application. Values start at 0 degrees. Repeats: Sets the number of times the gradient repeats over the course of its range. Repeat Method: Sets the method by which the gradient is mapped when repeating. Values can be set to Mirror (default) or Wrap. This parameter affects the filter when Repeats is set to a number greater than 1. Map Channel: Sets the channel used to determine how the image is colorized. Values can be selected from the following: Luminance (default), Red, Green, Blue, or Alpha. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Gradient, Offset, Repeats, Repeat Method, and Map Channel. Hue/Saturation This filter provides controls to adjust Hue, Saturation, and Value levels in an image. The Hue control is an angular representation of the color values in an image. By rotating the Hue angle, you uniformly remap the colors throughout an image, similar to the effect of turning the hue or phase knob of a broadcast monitor. The Saturation slider controls the intensity of color in an image, with a high value resulting in vivid color, and a low value resulting in a grayscale image with no color at all. The Value slider adjusts the overall brightness or darkness of all colors in an image, including the blacks and whites in a desaturated image. Original image HSV Adjust filter applied (low saturation goes to grayscale) Parameters in the Inspector Hue: Sets the angle of adjustment used to set the zero point of the color wheel. Chapter 19 Using Filters 1035 Saturation: Sets the color saturation of the object, ranging from –1.0 (no color information) to 0.0 (unadjusted color) to 3.0. Value: Sets the intensity adjustment applied to the object. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Hue, Saturation, and Value. Levels Provides controls to remap the white and black points of an image, with a Gamma control to adjust midtones, all at once. A histogram provides an analysis of the image to help you judge the adjustments to make. A powerful option in this filter is the ability to make independent adjustments to the red, green, blue, and alpha channels of an object. Parameters in the Inspector Histogram: Displays an analysis of the object. By default, the RGB channels are selected. A pop-up menu can be used to select Red, Green, Blue, or Alpha channels for viewing. Click the disclosure triangles to expose the RGB, Red, Green, Blue, and Opacity parameter groups. Click the group parameter disclosure triangles to display sliders: • Black In: Sets the In point for black, below which values are considered black. • Black Out: Sets the minimum brightness value that appears in the output. Other values are scaled between Black Out and White Out values. • White In: Sets the In point for white, above which values are not output. • White Out: Sets the maximum brightness value that appears in the output. Other values are scaled between Black Out and White Out values. • Gamma: Sets the amount of gamma correction. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls None. 1036 Chapter 19 Using Filters Negative Inverts color and brightness in an image. This filter can be used to turn a scanned negative image into a positive. Original image Image inverted Parameters in the Inspector Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls None. OpenEXR Tone Map Applies tone mapping to an OpenEXR image, reducing the dynamic range of the image so that it can be viewed on your monitor. The Exposure, Defog, Knee Low, and Knee High parameters allow you to control how the pixels in the high-dynamic range image are mapped to a lower dynamic range. Tip: A recommended workflow is to apply the OpenEXR Tone Map filter to the result of your composite. In other words, apply the OpenEXR Tone Map filter after you have applied other filters to the OpenEXR image or blended the image with other images in your project. Note: An OpenEXR file imported into Motion 5.0.2 or later is maintained as a high-dynamic range image and will appear brighter than in earlier versions of Motion (until you specifically alter the image). Prior to version 5.0.2, Motion forced tone mapping on imported OpenEXR images. In Motion 5.0.2 or later, when you open an older project containing an OpenEXR image, an OpenEXR Tone Map filter is automatically applied to the image so that the project retains its original appearance. Parameters in the Inspector Exposure: Lightens or darkens the displayed image, revealing more detail at the low end or high end of the image. Chapter 19 Using Filters 1037 Defog: Attempts to remove “fog” in an image. While recording, stray light in the camera may cause fogging of your image, creating unwanted light. Knee Low: Sets the low end of the white and middle gray values displayed in the image. Values between Knee Low and Knee High are compressed, allowing you to display a wider range of pixel values without clipping. Knee High: Sets the high end of the white and middle gray values displayed in the image. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Exposure, Defog, Knee Low, and Knee High. Sepia Tints an object with a sepia tone. The black and white points are remapped to dark and light sepia colors. The amount of tinting can be adjusted to achieve a subtle mix of the original and tinted colors, or a completely tinted image. This filter can create an old-time western look. Original image Sepia filter applied Parameters in the Inspector Amount: Sets the amount of sepia tone applied to the object. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following control: Amount. 1038 Chapter 19 Using Filters Threshold Reduces all colors in an image to a duotone, and optionally limits the range of midtones preserved in the image. The result is an extremely high-contrast image that defaults to black and white—but you can reduce the image to any two colors. Original image Threshold filter applied Parameters in the Inspector Threshold: Sets the threshold of selection for color substitution. The threshold determines what is considered light and what is considered dark in the object. Smoothness: Sets the smoothness of transition between the substituted colors. Dark Color: Sets the color used to represent the dark interpreted areas of the object. The color controls can be expanded with the disclosure triangle to include Red, Green, and Blue sliders, for more precise color selection. Light Color: Sets the color used to represent the light-interpreted areas of the object. The color controls can be expanded with the disclosure triangle to include Red, Green, and Blue sliders, for more precise color selection. Correct For Alpha: Renders semitransparent pixels correctly. Enable this setting if the edges of the filtered image show artifacts. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Threshold, Smoothness, Dark Color, and Light Color. Chapter 19 Using Filters 1039 Tint Tints an image with a single color. Shadows and highlights are less affected, but all midrange colors in the image are gradually replaced with the tint color as the Intensity parameter is increased. Original image Tint (brown) applied Parameters in the Inspector Color: Picks the color used to tint the object. The color controls can be expanded with the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Intensity: Sets the amount of tint applied to the object. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Color and Intensity. YIQ Adjust Allows color adjustment in YIQ color space. The YIQ color space definition was formerly used to describe an NTSC broadcast signal. Parameters in the Inspector Y: Sets the intensity of the Y color channel. (Y represents the luma component/grayscale information.) I: Sets the phase of the I color channel. (I represents the hue component/chroma information.) Q: Sets the phase of the Q color channel. (Q represents the saturation component/chroma information.) Mix: Sets the percentage of the original image to be blended with the color-corrected image. 1040 Chapter 19 Using Filters HUD Controls The HUD contains the following controls: Y, I, and Q. YUV Adjust Allows color adjustment in YUV (Y′CBCR ) color space. The YUV color space definition is used to describe NTSC and PAL broadcast signals. Parameters in the Inspector Y: Sets the intensity of the Y color channel. (Y represents the luma/brightness information.) U: Sets the phase of the U color channel. (U represents the chroma/color information.) V: Sets the phase of the V color channel. (V represents the chroma/color information.) Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Y, U, and V. Distortion Filters Distortion filters are used to change the shape of objects, warping, twisting, and pulling them in all directions. Black Hole Distorts an image by causing part of it to disappear into the specified center point, and by bowing the top, bottom, and sides inward. As the value of the Amount parameter increases, the more the sides bow in, and the more of the image at the center point disappears into it. The Poke filter has a similar effect without removing part of the image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Black Hole applied Chapter 19 Using Filters 1041 Parameters in the Inspector Center: Sets the position of the center of the black hole. Drag the Center onscreen control to adjust its value in the Canvas. Amount: Sets the amount of force pulling on your object. Values range from 0 (no gravity) to 1000 (the entire object is pulled into the black hole). Note: Black Hole may fail to completely pull large images into its gaping maw. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Amount. Bulge Distorts an image as if pushed outward by something pushing it from behind. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bulge applied Parameters in the Inspector Center: Sets the position of the center of the bulge. Drag the Center onscreen control to adjust its value in the Canvas. Amount: Sets the amount of the bulge. Scale: Sets the direction and scale of the bulge. Lower values make the image appear to bulge inwards; higher values make the image appear to bulge outwards. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. 1042 Chapter 19 Using Filters HUD Controls The HUD contains the following controls: Amount and Scale. Bump Map Uses a source object to define a bump pattern that can be used to deform an object, with parameters to control the amount of displacement. You can use any image, movie, or shape as the source object. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bump Map filter applied with a tiger image Parameters in the Inspector Map Image: Displays a thumbnail of the map chosen. To add a map image or replace the current one, drag an object (image, shape, text, and so on) into the well.To learn how to add an object to the Map Image well, see Source Well. Controls: Sets the map controls to either of two settings: • Direction and Amount: Allows you to offset the angle and amount of the map protrusion. • Horizontal and Vertical Scale: Allows you to offset the map by a single axis (X or Y). Direction: Sets the angle at which the bump map protrudes when the Controls pop-up menu is set to Direction and Amount. Amount: Sets how far the bump map protrudes when the Controls pop-up menu is set to Direction and Amount. Positive values push upward; negative values push downward. Horizontal Scale: Sets horizontal scaling of the map object when the Controls pop-up menu is set to Horizontal and Vertical Scale. Vertical Scale: Sets the vertical scaling of the map object when the Controls pop-up menu is set to Horizontal and Vertical Scale. Repeat Edges: Sets whether the edges of the object are repeated. Mix: Sets the percentage of the original image to be blended with the distorted image. Chapter 19 Using Filters 1043 HUD Controls The HUD contains the following controls: Map Image, Direction, and Amount. Disc Warp Stretches the image outward around a circular region. As the radius of the warping region increases, the image is warped outward with a greater amount of distortion. The color of the resulting disk is determined by the color value of the pixel where the center is placed. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Disc Warp applied Parameters in the Inspector Center: Sets the position of the center of the disk. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the size of the disk. Drag the outer circle of the onscreen controls to adjust the Radius value in the Canvas. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Radius. Droplet Simulates the effect of a drop of liquid falling onto the surface of a pool, with the image displaced by concentric ripples. This filter is not automatically animated, but animating the Thickness parameter of this filter creates the effect of the ripples spreading out from the center. 1044 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Droplet applied Parameters in the Inspector Center: Sets the position of the center of the droplet effect. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the droplet effect. Drag the inner circle of the onscreen controls to adjust the Radius value in the Canvas. Drag between the inner and outer circles to adjust the Radius and Thickness parameters simultaneously. Thickness: Sets the width of the rippling waves from the droplet. Drag the outer circle of the onscreen controls to adjust the Thickness value in the Canvas. Drag between the inner and outer circles to adjust the Thickness and Radius parameters simultaneously. Height: Sets the height of the droplet ripples. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Radius, Thickness, and Height. Chapter 19 Using Filters 1045 Earthquake Creates an animated displacement effect on an object, adjusting its position as if shaken by an earthquake. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Earthquake applied with three layers Parameters in the Inspector Twist: Sets the amount the object is rotated as it is displaced. Horizontal Shake: Sets the maximum amount the image is displaced horizontally. Vertical Shake: Sets the maximum amount the image is displaced vertically. Layers: Sets the number of copies of the original object that are overlaid. Larger values create a motion-blurred effect. Epicenter: Sets the position of the center of the earthquake, around which the Twist occurs. Drag the center onscreen control to adjust the Epicenter value in the Canvas. Random Seed: Sets the value of the random seed used to determine which frames are changed by the filter. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Twist, Horizontal Shake, Vertical Shake, Layers, and Random Seed. Fisheye Distorts an object as if it were seen through the view of a fisheye lens. The result is an extremely wide-angle warping effect also known as barrel distortion. Use the Fisheye filter with a negative Amount value as an imprecise way to correct for barrel distortion in images shot using a wide-angle lens. 1046 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Fisheye applied Parameters in the Inspector Radius: Sets the radius of the fisheye lens effect. Amount: Sets the amount and nature of the distortion. Lower values create concave distortion; higher values create convex distortion. Center: Sets the position of the center of the fisheye effect. Drag the Center onscreen control to adjust its value in the Canvas. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Radius and Amount. Flop Reverses an image horizontally, vertically, or in both directions. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Flop filter applied Chapter 19 Using Filters 1047 Parameters in the Inspector Flop: Sets the direction in which the object is flopped (Horizontal, Vertical, or Both). Mix: Sets the percentage of the original image to be blended with the flopped image. HUD Controls The HUD contains the following control: Flop. Fun House Simulates the distortion caused by an imperfectly shaped mirror, similar to those in a carnival fun house. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Fun House applied Parameters in the Inspector Center: Sets the position of the center of the fun house mirror. Drag the Center onscreen control to adjust its value in the Canvas. Width: Sets the width of the fun house mirror. Amount: Sets the amount of distortion of the fun house mirror. Angle: Sets the angle at which the fun house mirror is set. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Width, Amount, and Angle. Glass Block Cuts an object into a series of tiles and offsets the portion of the image in each tile to create a duplicated pattern effect. The number of tiles and the amount that each tile is offset, can be customized. 1048 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Glass Block applied Parameters in the Inspector Center: Sets the position of the origin of the glass block effect. Drag the Center onscreen control to adjust its value in the Canvas. Scale: Sets the scale of the portions of the duplicated parts. Angle: Sets the angle of offset used to sample the duplicated parts. Tile Size: Sets the size of the glass blocks. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Scale, Angle, and Tile Size. Glass Distortion Simulates the effect of your object being deformed as it shows through a piece of glass. An image well lets you assign an object to use as the pattern in the glass, using any image, movie, or shape. Other parameters let you control the scale and amount of distortion. When this filter is initially applied, Glass Distortion behaves as if there were a black image applied to the Distort Input well, which leaves the target object unchanged. Chapter 19 Using Filters 1049 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Glass Distortion (diamond image) applied Parameters in the Inspector Center: Sets the position of the center of the tiling of the glass distortion. Drag the Center onscreen control to adjust its value in the Canvas. Distort Input: Displays a thumbnail of the image map chosen. To learn how to add an object to the Distort Input well, see Source Well. Fit: Sets the relative scale of the map image. X Scale: Sets the horizontal scale of the map image (when the Fit checkbox is deselected). Y Scale: Sets the vertical scale of the map image (when the Fit checkbox is deselected). Amount: Sets the amount of offset. Softness: Sets how much blur is applied to the map image. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Fit, X Scale, Y Scale, Amount, and Softness. 1050 Chapter 19 Using Filters Insect Eye Maps a repeating hexagonal distortion pattern to an image, mimicking the POV of an insect. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Insect Eye applied Parameters in the Inspector Size: Sets the size of the hexagons, in pixels. Refraction: Sets the amount of distortion present in each hex. Border Size: Sets the width, in pixels, of the border of each hex. Border Color: Picks the color of the border of the hexagons. Use the disclosure triangle to display Red, Green, and Blue sliders, for more precise color selection. Mix: Sets the percentage of the original image to be blended with the distorted image. HUD Controls The HUD contains the following controls: Size, Refraction, Border Size, and Border Color. Mirror Splits an image in half vertically and reverses the remaining half to create a reflection. The center point and angle of this split point can be customized. This filter is excellent for recreating the magic of 1980s music videos. Chapter 19 Using Filters 1051 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Mirror filter applied Parameters in the Inspector Center: Sets the position of the center of the mirror. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the mirror’s orientation. Repeat Border Pixels: Sets the edge pixels to repeat to fill in the remainder of the shape when the Center and/or Angle parameters are offset from the center. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Angle. Page Curl Animates the image as if it is a page peeling away from the upper-left corner of the Canvas to the lower-right corner. 1052 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Page Curl filter applied Parameters in the Inspector Direction: Sets the animation of the page curl to Open or Close. Angle: Defines the angle of the page turn. Alternatively, use the Angle onscreen control (the small circle between the center circle and arrow) with the Rotate control (the arrow) to set the direction of the page turn. For example, at an Angle value of 180 degrees, the page turn begins along the right edge of the image. Rotation: Defines the rotation of the page turn. Alternatively, use the Rotation onscreen control (the arrow) with the Angle control (the small circle between the center circle and arrow) to set the direction of the page turn. For example, when Angle is set to 180 degrees and Rotation is set to 130 degrees, the page turn begins along the upper-right corner of the image. Radius: Defines the size of the page curl. The larger the value, the more subtle the curl. Fade Out: Defines the image’s opacity over the page curl animation. When set to 1, the image remains opaque throughout the animation. When set to 100, the image is transparent by the end of the animation. Shadow: Controls the darkness of the shadow that appears beneath the curling portion of the image. Highlight Color: Defines a highlighted color on the back of the page. Back Color: Defines the color and opacity on the back of the page. Animate: Turns animation of the page-turn effect on and off. Percent: Defines the amount of curl in the static image when the Animate checkbox is deselected. Mix: Sets the percentage of the original image to be blended with the distorted image. Chapter 19 Using Filters 1053 Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Direction, Angle, Rotation, Radius, Fade Out, Shadow, Highlight Color, Back Color, Animate, and Percent. Poke Distorts an image by bowing the top, bottom, and sides inward, and appears to push the object into the Canvas at the specified Center point. As the value of the Amount parameter increases, the more the sides bow in. The Black Hole filter has a similar effect but also removes part of the image at the center point. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Poke applied Parameters in the Inspector Center: Sets the position of the center of the poke. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the poke effect. The higher the value, the smaller the image appears. Scale must be set to greater than 0 for the Radius parameter to have an effect. Scale: Sets the scale of the distortion. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Radius and Scale. 1054 Chapter 19 Using Filters Polar Converts images from rectangular coordinates to polar coordinates, and vice versa. Original image Polar applied Tip: This filter works well with objects containing horizontal or vertical lines, such as the Stripes or Checkerboard generators. A similar effect can be created with any image by adding the Line Screen or other related filters. Parameters in the Inspector Center: Sets the center point of the distortion from Polar to Rectangular or Rectangular to Polar. Drag the Center onscreen control to adjust its value in the Canvas. Polar to Rect: Applies a Polar-to-Rectangular distortion to the image. When this checkbox is deselected, a Rectangular-to-Polar distortion is applied. Chapter 19 Using Filters 1055 Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Polar to Rect. Refraction Creates a glass-distortion effect on an image, with an optional height map. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Refraction applied with a height map Parameters in the Inspector Softness: Sets the amount of softness applied to the refracted edges. Refraction: Sets the amount that the image is distorted. Height Map: Displays a thumbnail of the height map chosen. The height map is used to determine the edges along which the image is refracted. To learn how to add an object to the Height Map well, see Source Well. Map Channel: Sets the channel used to determine how the image is refracted. If a height map is present, the channel is selected from the height map; otherwise the channel is selected from the source object. Values can be selected from the following: Luminance (default), Red, Green, Blue, or Alpha. Mix: Sets the percentage of the original image to be blended with the distorted image. HUD Controls The HUD contains the following controls: Softness, Refraction, Height Map, and Map Channel. 1056 Chapter 19 Using Filters Ring Lens Creates a ring of distortion over the image, creating a donut-like bulge. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Ring Lens applied Parameters in the Inspector Center: Sets the position of the center of the lens. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the ring. Drag the inner circle of the onscreen controls to adjust the Radius value in the Canvas. Drag between the inner and outer circles to adjust the Radius and Thickness parameters simultaneously. Thickness: Sets the thickness of the ring as a percentage of the radius. Values range from 0 (no thickness) to 1.00 (no hole in the center of the ring lens). Drag the outer circle of the onscreen controls to adjust the Thickness value in the Canvas. Drag between the inner and outer circles to adjust the Thickness and Radius parameters simultaneously. Refraction: Sets the amount of refraction of the lens. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Radius, Thickness, and Refraction. Ripple Creates animated ripples over the surface of an object. This filter is automatically animated to create an undulating effect on the surface of the affected image. The amplitude can be adjusted to increase or decrease the rippling effect. Chapter 19 Using Filters 1057 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Ripple applied Parameters in the Inspector Center: Sets the position of the origin of the effect. Drag the Center onscreen control to adjust its value in the Canvas. Amplitude: Sets the width of the waves. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Amplitude. Scrape Smears an image along an angle defined by the Rotation parameter. The Scrape effect starts at the center point, and continues to the edge of the object. 1058 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Scrape applied Parameters in the Inspector Center: Sets the position of the center of the scrape. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the scrape. Drag the outer handle of the onscreen control to adjust the Rotation value in the Canvas. Amount: Sets the ramping of the number of pixels spread across the range of the scrape. Values range from 0 (very gradual) to 200 (hard edge). Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Rotation and Amount. Sphere Simulates the effect of an image wrapped around a sphere. This filter can be used to turn an image of a map into an imprecise globe. Chapter 19 Using Filters 1059 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Sphere filter applied Parameters in the Inspector Center: Sets the position of the center of the sphere. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the sphere. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Radius. Starburst Radiates solid-colored rays out from the center of your object. The colors are derived from pixel values around the selected center point, with the number of colors used determined by the Radius parameter. 1060 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Starburst applied Parameters in the Inspector Center: Sets the position of the center of the starburst. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of pixel sampling for ray color determination. Mix: Sets the percentage at which the original image is blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Radius. Stripes Turns an image into a series of vertical stripes. The angle of generated stripes can be changed using the Angle parameter. The stripe colors are derived from pixel values along a line through the center point at the angle specified by the Angle parameter. The distribution of colors is determined by the Offset parameter. Chapter 19 Using Filters 1061 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Stripes applied Parameters in the Inspector Center: Sets the position of the center of the stripe effect. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the stripes. Drag the outer handle of the onscreen control to adjust the Angle value in the Canvas. Offset: Sets the angle of pixel sampling used for sampling pixel color values. Mix: Sets the percentage of the original image to be blended with the striped image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle and Offset. Target Draws bands of concentric circles outward from the center point value. The target colors are derived from pixel values around the selected center point, with the distribution of colors determined by the Angle parameter. 1062 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Target applied Parameters in the Inspector Center: Sets the position of the center of the target. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the line used to select pixels for the bands of circles in the target. Drag the outer handle of the onscreen control to adjust the Angle value in the Canvas. Crop: Sets whether the image is cropped beyond its original borders. Mix: Sets the percentage at which the original image is blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Angle. Twirl Twirls an image like a fork twisting a plate of spaghetti. The image appears to stretch from the sides to the center in a spiral. The amount of spiraling is determined by the Twirl parameter. Chapter 19 Using Filters 1063 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Twirl filter applied Parameters in the Inspector Amount: Sets the radius of the twirl. Larger values affect more of the image. Values range from 0 (none of the image is affected) to 1.00 (largest amount of the image is affected). Drag the outer circle of the onscreen controls to adjust the amount in the Canvas. Twirl: Sets the amount of twist. Drag the handle of the onscreen control to adjust the Twirl value in the Canvas. Center: Sets the position of the center of the twirl. Drag the Center onscreen control to adjust its value in the Canvas. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the twirled image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount and Twirl. 1064 Chapter 19 Using Filters Underwater Applies an animated distortion to an image, simulating a view through water. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Underwater filter applied Parameters in the Inspector Size: Sets the size of the ripples in the water. The smaller the number, the more ripples there are in the water simulation. Speed: Sets the speed at which the distortion is animated. Refraction: Sets the amount that the image is distorted. Repeat Edges: Sets whether the edges of the object are repeated. Mix: Sets the percentage of the original image to be blended with the distorted image. HUD Controls The HUD contains the following controls: Size, Speed, and Refraction. Wave Distorts an image to simulate waves oscillating across it. The wave filter is not automatically animated, but you can animate the Offset parameter to create an undulating effect. For information on animating parameters, see Parameter Behaviors. Chapter 19 Using Filters 1065 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Wave filter applied Parameters in the Inspector Amplitude: Sets the amplitude of the waves. Wavelength: Sets the length of the waves. Offset: Sets the offset of the wave. Vertical: Sets whether the waves run vertically or horizontally. Repeat Edges: Sets whether the edges of the object are repeated. Mix: Sets the percentage of the original image to be blended with the distorted image. HUD Controls The HUD contains the following controls: Amplitude, Wavelength, Offset, and Vertical. Glow Filters Glow filters combine blur with brightness and color effects. The results are automatically recomposited over the original image in many ways. Glows can be used to simulate film effects, as a method to render your footage more abstract, or as accents to make elements in a composition stand out. 1066 Chapter 19 Using Filters Aura Adds highly stylized light or dark halos around well-defined areas of an image. The resulting glow appears solarized, and the underlying image creates outlines that show through the glow effect. Original image Aura applied Parameters in the Inspector Inner Radius: Sets the amount the aura extends inward from its point of origin. Outer Radius: Sets the amount the aura extends outward from its point of origin. Brightness: Sets the brightness of the aura. Crop: Sets whether the aura is cropped at the original boundaries of the object. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Inner Radius, Outer Radius, and Brightness. Bloom Simulates the effect of extremely overexposed highlights on film. Highlights above a specific threshold are blurred, brightened, and recomposited with the original. Unaffected regions of the image interact with the glow effect, but otherwise retain their detail. Original image Bloom applied Chapter 19 Using Filters 1067 Parameters in the Inspector Amount: Sets the amount of the bloom. Brightness: Sets the brightness of the bloom. Threshold: Sets the luminance threshold at which the bloom starts. Horizontal: Sets the distance of horizontal bloom. Vertical: Sets the distance of vertical bloom. Crop: Sets whether the bloom is cropped at the original boundaries of the object. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Amount, Brightness, and Threshold. Dazzle Adds glowing star-shaped accents to the highlights in an image. This filter can be customized to create effects ranging from subtle highlights to outrageous, colorful flashes of color. Original image Dazzle applied Parameters in the Inspector Amount: Sets the radius of the spikes from the glow. Angle: Sets the angle of rotation of the spikes. Brightness: Sets the amount of brightness of the glow. Threshold: Sets the luminance threshold of the glow. Spike Count: Sets the number of spikes coming off of glows. Crop: Sets whether the glowed object is cropped at its original borders. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Amount, Angle, Brightness, Threshold, and Spike Count. 1068 Chapter 19 Using Filters Gloom Creates a muted, dark glow. The image is darkened, and areas of detail are evened out into larger regions of color. It’s spooky. Original image Gloom applied Parameters in the Inspector Radius: Sets the radius of the gloom. Amount: Sets the amount of gloom. Values range from 0 (no gloom) to 2 (maximum gloominess). Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius and Amount. Glow Creates a basic glow effect. It is the most basic glow filter in this category, but can be customized to create many effects. Parameters in the Inspector Radius: Sets the radius of the glow. Opacity: Sets the opacity of the glow. Threshold: Sets the luminance threshold at which the glow begins. Softness: Sets the amount of softness applied to the glow. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius, Opacity, Threshold, and Softness. Light Rays Uses the zoom blur rather than a gaussian blur to distribute the glow effect. The resulting effect is that of light rays shining through an object from a specified point. Chapter 19 Using Filters 1069 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Light Rays applied Parameters in the Inspector Amount: Sets the amount of the light ray effect. Larger values extend the length of the rays. Center: Sets the position of the center point of the light source. Drag the center onscreen control to adjust its value in the Canvas. Glow: Sets the brightness multiplier of the light rays. Expansion: Sets the distance the light rays extend outside the boundary of the source object. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Amount and Glow. 1070 Chapter 19 Using Filters Outer Glow Adds a glow to the alpha channel of an image. The result is a glow around the outside of the image that leaves the interior unaffected. Original image Outer Glow filter applied Parameters in the Inspector Radius: Sets the size of the glow. Brightness: Sets the brightness of the glow. Inner Color: Picks the inner color of the glow. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Outer Color: Picks the outer color of the glow. Range: Sets the gradient position between the glow colors. Horizontal: Sets the amount of horizontal glow. Vertical: Sets the amount of vertical glow. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius, Brightness, Inner Color, Outer Color, and Range. Chapter 19 Using Filters 1071 Overdrive Creates an animated glow effect by compositing numerous glowing tinted duplicates of the original image. Fine detail is lost, and the highlights of the image are emphasized. You can customize the inner glow and outer glow colors. Original image Overdrive applied Parameters in the Inspector Intensity: Sets the number of samples. Size: Sets the radius of the effect. Rotation: Sets the angle of rotation of the collected offsets. Inner Glow: Picks the color of the inner part of the glow. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Outer Glow: Picks the color of the outer part of the glow. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Intensity, Size, Rotation, Inner Glow, and Outer Glow. Sharpen Filters These filters sharpen images by creating a high contrast overlay that emphasizes edges in the image. Sharpen Sharpens an image by enhancing the color contrast around edges in the image. 1072 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Sharpen filter applied Parameters in the Inspector Intensity: Sets the radius for the effect. Amount: Adjusts the contrast for the sharpening. Mix: Sets the percentage of the original image to be blended with the sharpened image. HUD Controls The HUD contains the following controls: Intensity and Amount. Unsharp Mask Creates an effect similar to Sharpen, but provides more options to refine and control the amount of sharpening applied to the image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Unsharp Mask filter applied Parameters in the Inspector Radius: Sets the amount of the mask’s effect. Amount: Sets the amount of the multiplier used to sharpen the object’s edges. Chapter 19 Using Filters 1073 Threshold: Sets the threshold of luminance difference to be considered as a high contrast range, between 0 and 1. Horizontal: Sets the horizontal width of the unsharp mask. Vertical: Sets the vertical scale of the unsharp mask. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius, Amount, and Threshold. Stylize Filters Unlike distortion filters, which warp and deform an image, filters in the stylize subcategory make an image appear as if it was created with a different medium. Add Noise Adds an overlay noise of the selected type to an image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Add Noise filter applied Parameters in the Inspector Amount: Sets the amount of noise added to the image. Type: Sets the type of noise added to the image. Values include Pink Noise (TV Static), White Noise (Uniform), Gaussian Noise (Film Grain), and Blue Noise, which reduces banding. Monochrome: Sets whether the added noise is monochrome or color. Blend Mode: Sets the blend mode used to add noise to the image. For blend mode descriptions, see Using Blend Modes. Autoanimate: Sets whether the noise is animated automatically. Random Seed: Sets the seed used to generate the position of the noise. This parameter is only available if Autoanimate is deselected. Mix: Sets the percentage of the original image to be blended with the filtered image. 1074 Chapter 19 Using Filters HUD Controls The HUD contains the following controls: Amount, Type, Monochrome, Blend Mode, Autoanimate, and Random Seed. Bad Film Simulates old or damaged film and/or playback equipment. This filter is animated. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Focus Amount: Sets the amount of blur applied to the image, simulating a projector lens going in and out of focus. Focus Variance: Varies the amount defined in the Focus Amount parameter. For example, if Focus Amount is set to 3 and Focus Variance set to 1, the Focus Amount varies between 2 and 4. Brightness Amount: Simulates underexposed footage or an inconsistent projector bulb by lightening and darkening the image. Brightness Variance: Varies the amount defined in the Brightness Amount parameter. For example, if Brightness Amount is set to 2.5 and Brightness Variance set to 2, the Brightness Amount varies between .5 and 4.5. Saturate Amount: Adjusts the effect to simulate aged film stocks. Values below 0 lower the saturation, creating a faded film appearance. A value of –100 removes saturation to simulate black-and-white film. Values above 0 simulates oversaturation. Saturate Variance: Varies the amount defined in the Saturate Amount parameter. For example, if Saturate Amount is set to –20 and Saturate Variance set to 10, the Saturate Amount varies between –30 and –10. Scratches: Simulates scratches on film. The higher the value, the more scratches. Scratch Color: Sets the color of the film scratches. The color controls can be expanded with the disclosure triangle to include Red, Green, Blue, and Opacity sliders to more precisely select the color. Hairs: Simulates hairs on film. The higher the value, the more hairs. Chapter 19 Using Filters 1075 Dust: Simulates dust or dirt on film. The higher the value, the more dirt. Tip: Hair, dust, and scratches occur with random variance and may not appear on every frame. If you don’t see any effect while adjusting these sliders, play the clip and observe the effect over the duration of the shot. Jitter Amount: Simulates the look of a film projector that has a problem with its gate, reminding you of high school, if you are old. Increasing the amount of jitter increases the appearance of horizontal shake in the film. Jitter Variance: Varies the amount defined in the Jitter Amount parameter. For example, if Jitter Amount is set to .25 and Jitter Variance set to .05, the Jitter Amount varies between .2 and .3. Grain: Sets the amount of grain, allowing you to simulate different types of film stock. Frequency of Change: Defines how often (in frames), the values set in the parameters with variance are recalculated. For example, if Frequency of Change is set to 30, and Jitter Amount and Jitter Frequency are set to values greater than 0, the jitter parameters are recalculated every 30 frames, creating additional randomness. Random Seed: Lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Focus Amount, Focus Variance, Brightness Amount, Brightness Variance, Saturate Amount, Saturate Variance, Scratches, Scratch Color, Hairs, Dust, Jitter Amount, Jitter Variance, Grain, Frequency of Change, and Random Seed. 1076 Chapter 19 Using Filters Bad TV Simulates poor analog television reception, adding attributes like exaggerated video field scan lines, static and roll. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bad TV applied Parameters in the Inspector Waviness: Sets the amount of horizontal offset applied to video fields. Roll: Sets the amount of vertical offset applied to the image. The entire image is displayed, but the image is split along the roll line, with the otherwise missing part of the footage shown joined along the roll line. Static: Sets the amount of static added to the image. Color Synch: Sets the amount of horizontal RGB channel offset applied to the image. Saturate: Sets the amount of color saturation applied to the image. Negative values reduce saturation, positive values add saturation. Scan Line Brightness: Sets the brightness of the video field scan lines added to the image. Scan Line Percentage: Sets the thickness of the video field scan lines added to the image. Number of Scan Lines: Sets the amount of scan lines added to the image. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Waviness, Roll, Static, Color Synch, Saturate, Scan Line Brightness, Scan Line Percentage, and Number of Scan Lines. Circle Screen Reduces an image to a high-contrast grayscale version of itself, then screens the result using a pattern of concentric circles, simulating an etched screening technique. The image is represented by varying thicknesses in the circular pattern. Chapter 19 Using Filters 1077 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Circle Screen applied Parameters in the Inspector Center: Sets the position of the center of the circle screen. Drag the Center onscreen control to adjust its value in the Canvas. Scale: Sets the scale of the circle screen. Contrast: Sets the contrast level. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Scale and Contrast. Circles Adds elliptical facets to an image, giving it a mosaic-like appearance. Each facet takes a color sample from the center of itself. Unlike other mosaic filters, the edges of the facets do not join, allowing parts of the untouched image to be visible between facets. 1078 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Circles applied Parameters in the Inspector Size: Sets the size of the facets. Falloff: Sets the amount of alpha blending done at the edges of each facet. Invert: Sets whether the facets are elliptical or tiles with elliptical cut-outs. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Size, Falloff, and Invert. Color Emboss Traces high-contrast edges in the image with darker versions of the color in the image. This gives the object the appearance of being stamped into the Canvas, while retaining the colors of the original image. The Direction and amount of Relief can be customized. Original image Color Emboss applied Parameters in the Inspector Direction: Sets the angle of direction of the offset emboss. Chapter 19 Using Filters 1079 Relief: Sets the amount of the offset. Crop: Sets whether the image is cropped beyond its original borders. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Direction, Relief, and Crop. Crystallize Simulates the effect of viewing an image through a pane of glass with irregular facets patterned into it. These mosaic-like facets give an image a crystallized appearance. This filter is automatically animated, and the facets appear to shift and turn according to the value in the Speed parameter. To prevent the facets from moving, set the Speed to zero. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Crystallize applied Parameters in the Inspector Size: Sets the size of the facets. Speed: Sets the speed of the animation of the facets. Smooth: Sets whether facet colors are based on average values in the area they are replacing, or single samples taken from the center of the facet. Feathering: Sets the amount of feathering applied to the edges of facets. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Size, Speed, Smooth, and Feathering. 1080 Chapter 19 Using Filters Edges Creates an edge-detection effect by examining the luminance of an image to render high contrast borders between regions of brightness. These edges are then traced, and all other detail is replaced by black. The amount of eliminated detail depends on the value of the Intensity parameter. The colors of the resulting highlights are intensified variants of the colors from the original image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Edges applied Parameters in the Inspector Intensity: Sets the intensity of the edges. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following control: Intensity. Extrude Gives an object simulated depth, by creating a front and back side, and then offsetting them and extruding the edges so they connect. Note: Because this filter only simulates depth, an object with the Extrude filter applied does not interact with 3D aspects of Motion. Chapter 19 Using Filters 1081 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Extrude applied Parameters in the Inspector Angle: Sets the angle at which the object is extruded. Drag the onscreen control to adjust its value in the Canvas. Distance: Sets the distance the object is extruded. Drag the onscreen control to adjust its value in the Canvas. Clipping: Sets the distance at which the extrusion is clipped. Back Size: Sets the size of the back object, as a proportion of its original size. Face Brightness: Sets a brightness level applied to the face of the object. Front Brightness: Sets a brightness level applied to the front of the object. Back Brightness: Sets a brightness level applied to the back of the object. Extrude Style: Selects the method used to extrude the sides of the object. Shading or Gradient can be selected. With Shading selected, the color values of the pixels at the edges of the object are used along the extrusion. With Gradient selected, a gradient preset or custom gradient can be used. Gradient: Selects a gradient preset to be applied to the object. Can also be used to edit a custom gradient. The gradient is applied only if the Extrude Style is set to Gradient. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle, Distance, Clipping, Back Size, Face Brightness, Front Brightness, Back Brightness, Extrude Style, and Gradient. 1082 Chapter 19 Using Filters Halftone Reduces an image to a black and white version of itself, simulating the halftone screening method for print, in which the shadows and highlights of an image are recreated using patterns of small and large dots. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Halftone applied Parameters in the Inspector Center: Sets the position of the center of the halftone dots. Drag the center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the alignment of the dots. Scale: Sets the scale of the halftone dots. Contrast: Sets the amount of contrast between lightest and darkest dots. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle, Scale, and Contrast. Hatched Screen Reduces an image to a black and white version of itself, simulating a halftone pen-and-ink method of shading an image, in which the shadows and highlights of an image are recreated using hatched patterns of lines. Chapter 19 Using Filters 1083 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Hatched Screen applied Parameters in the Inspector Center: Sets the position of the center of the hatched screen. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the hatched screen. Scale: Sets the scale of the hatched screen. Skew: Sets the amount of skew of the hatched screen. Stretch: Sets the amount of stretch of the hatched screen. Contrast: Sets the relative amount of contrast between light and dark areas. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle, Scale, Skew, Stretch, and Contrast. 1084 Chapter 19 Using Filters Highpass Emphasizes areas of detail in an image and stylizes the colors in the resulting image to create a psychedelic display. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Highpass applied Parameters in the Inspector Radius: Sets the amount of variance of detail to consider. Values range from 0 (entire range of color) to 100 (only the most detailed portions). Amount: Sets the amount of emphasis. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius and Amount. Indent Creates a shiny, bump-mapped effect, giving the appearance of depressed and flat areas. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Indent applied Chapter 19 Using Filters 1085 Parameters in the Inspector Softness: Sets the softness of the transition between flat and raised areas. Brightness: Sets the level of brightness of the object. Ambient: Sets the amount of ambient light hitting the object. Highlight Brightness: Sets the amount of brightness applied to highlights of the object. Highlight Sharpness: Sets the degree of sharpness applied to highlights of the object. Light Rotation: Sets the angle, in degrees, at which the ambient light hits the object. Depth: Sets the amount of depth between flat and raised areas. Height Map: Displays a thumbnail of the height map chosen. If present, the height map is used to determine the flat and raised areas of the object. To learn how to add an object to the Height Map well, see Source Well. Map Channel: Sets the channel from the object used to determine the flat and raised areas of the image. If a height map is present, the channel is selected from the height map. Otherwise, values include Luminance (default), Red, Green, Blue, or Alpha. Stretch To Fit: Sets whether the Height Map is stretched to fit the dimensions of the filtered object. Height Map X Scale: Sets the scaling used to determine the width of the Height Map. This parameter becomes available when the Stretch To Fit checkbox is deselected. Height Map Y Scale: Sets the scaling used to determine the height of the Height Map. This parameter becomes available when the Stretch To Fit checkbox is deselected. Height Map X Offset: Sets the amount of offset used to position the Height Map horizontally. This parameter becomes available when the Stretch To Fit checkbox is deselected. Height Map Y Offset: Sets the amount of offset used to position the Height Map vertically. This parameter becomes available when the Stretch To Fit checkbox is deselected. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Softness, Brightness, Ambient, Highlight Brightness, Highlight Sharpness, Light Rotation, Depth, Height Map, Map Channel, Stretch To Fit, Height Map X Scale, Height Map Y Scale, Height Map X Offset, and Height Map Y Offset. Line Art Performs an edge detection of the high-contrast borders between regions of differing brightness in an object, tracing the edges and reducing other detail in the image to the color specified by the Paper Color parameter. The color of the resulting outline can also be customized. The effect is that of a line drawing on paper. 1086 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Line Art applied Parameters in the Inspector Threshold: Sets the threshold of edge detection. Smoothness: Sets the level of smoothness of transition between the lines and the background. Paper Color: Sets the color of the paper. The color controls can be expanded with the disclosure triangle to reveal Red, Green, and Blue sliders to more precisely select the color. Paper Opacity: Sets the opacity of the paper. Ink Color: Sets the color of the ink used in the line drawing. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Threshold, Smoothness, Paper Color, Paper Opacity, and Ink Color. Line Screen Reduces an image to a high-contrast grayscale version of itself, then screens the image using a pattern of straight lines, simulating an etched screening technique. The image is represented by varying thicknesses in the pattern of the parallel lines. Chapter 19 Using Filters 1087 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Line Screen applied Parameters in the Inspector Center: Sets the position of the center of the line screen. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the line screen. Scale: Sets the scale of the line screen. Skew: Sets the amount of skew of the line screen. Stretch: Sets the amount that the line screen is stretched. Contrast: Sets the relative amount of contrast between light and dark areas. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle, Scale, Skew, Stretch, and Contrast. MinMax Softly patterns an image by choosing a maximum or minimum color value for pixels in the specified radius. The result erodes or dilates the light or dark areas of your object into soft, blocky regions. 1088 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image MinMax dilating dark areas Parameters in the Inspector Mode: Sets the mode of the effect. The following modes are available: Minimum and Maximum. Radius: Sets the radius of the effect. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Mode and Radius. Noise Dissolve Dissolves an object by adding a pattern of noise to it. Raising the value of the Dissolve Amount parameter gradually eats away at more and more of the image. The alpha channel is set to zero within the noisy areas, so background images are revealed as the Dissolve Amount increases. Original image Noise Dissolve at 50% Parameters in the Inspector Dissolve Amount: Sets the percentage of pixels dissolved by noise. Chapter 19 Using Filters 1089 Random Seed: Sets a number to be used as a seed for noise placement. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Dissolve Amount and Random Seed. Pixellate Turns an image into a mosaic of blocks using colors taken from an object. The scale of the blocks can be increased or decreased. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Pixellate applied Parameters in the Inspector Center: Sets the position of the center of the pixellation effect. Drag the Center onscreen control to adjust its value in the Canvas. Scale: Sets the scale of the pixellation. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Scale. 1090 Chapter 19 Using Filters Posterize Reduces the number of colors in an image to a set number per color channel, adjustable using the Levels parameter. Original image Posterize applied Parameters in the Inspector Levels: Sets the number of levels of posterization. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following control: Levels. Relief Uses the color values of an object or height map to calculate height vertices, creating the appearance of a 3D height map. Note: Because this filter simulates depth, an object with the Relief filter applied does not interact with 3D aspects of Motion. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Relief applied Chapter 19 Using Filters 1091 Parameters in the Inspector Front: Sets the position of the center point of the front of the height map, determining the direction to which the height vertices are projected. Values are coordinates. Drag the inner or outer onscreen controls to adjust this value. Front Size: Sets the size of the front object, as a proportion of its original size. Back: Sets the position of the center point of the back of the height map, determining the direction from which height vertices are projected. Values are coordinates. Drag the inner or outer onscreen controls to adjust this value. Back Size: Sets the size of the back object, as a proportion of its original size. Fuzziness: Sets the amount of fuzziness applied to the height vertices. The higher the value, the softer the edges of the height vertices. Height Map: Displays a thumbnail of the height map chosen. If present, the height map is used to calculate height vertices. To learn how to add an object to the Height Map well, see Source Well. Map Channel: Sets the channel used to calculate height vertices. If a height map is present, the channel is selected from the height map, otherwise the channel is selected from the source object. Values can be selected from the following: Luminance (default), Red, Green, Blue, or Alpha. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Front Size, Back Size, Fuzziness, Height Map, and Map Channel. Slit Scan Creates an animated fly-through effect by simulating the slit scan process used to create “stargate” images in science fiction films. 1092 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Slit Scan applied Parameters in the Inspector Center: Sets the position of the center of the slit. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the slit. Speed: Sets the speed of the simulation. Perspective: Sets the angle of perspective on the object. Glow: Sets the amount of the glow on the slit. Glow Color: Picks the color of the glow of the slit. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Offset: Sets the amount of offset between what is above and what is below the slit. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Rotation, Speed, Perspective, Glow, Glow Color, and Offset. Slit Tunnel Simulates a circular version of the slit scan process used to create “warp tunnel” images in science fiction films. This filter is automatically animated to create a fly-through effect. Chapter 19 Using Filters 1093 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Slit Tunnel filter applied Parameters in the Inspector Center: Sets the position of the center of the tunnel. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the object during movement. Speed: Sets the speed of the simulation. Perspective: Sets the angle of perspective on the object. Glow: Sets the amount of the glow at the end of the tunnel. Glow Color: Picks the color of the glow at the end of the tunnel. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Rotation, Speed, Perspective, Glow, and Glow Color. Texture Screen Uses a source object specified by the Map Image parameter to screen the target. The source object can be any image, movie, or shape. By default, Texture Screen behaves as if there were a black image applied to the Map Image well, which makes the target appear desaturated and washed out. 1094 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Texture Screen filter applied, circle image Parameters in the Inspector Map Image: Displays a thumbnail of the map chosen to generate the screen. To learn how to add an object to the Map Image well, see Source Well. Center: Sets the position of the center of the texture screen. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle at which the texture screen is placed. Skew: Sets the amount of skew applied to the map image. Stretch: Sets the amount of stretch applied to the map image. Scale: Sets the scale applied to the map image. Contrast: Sets the amount of contrast applied to the image by the screen. Threshold: Sets the threshold of brightness of the background image used to determine the brightness of the luminance map. Noise Contrast: Sets the amount of contrast added to the noise. Noisiness: Sets the amount of noise. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Map Image, Angle, Skew, Stretch, Scale, Contrast, Threshold, Noise Contrast, and Noisiness. Chapter 19 Using Filters 1095 Vignette Simulates the light fall-off and corner-blurring effect characteristic of images viewed through some camera lenses. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Vignette applied Parameters in the Inspector Size: Sets the size of the vignette. The larger the size, the more area of the object is affected by the vignette. Drag the inner ring of the onscreen control to adjust this value. Drag in the center of the inner and outer rings to adjust the Size and Falloff values simultaneously. Falloff: Sets the amount of feathering applied to the border of the vignette. The higher the falloff, the softer the edge of the vignette. Drag the outer ring of the onscreen control to adjust this value. Drag in the center of the inner and outer rings to adjust the Size and Falloff values simultaneously. Center: Sets the position of the center of the vignette. Drag the center onscreen control to adjust its value in the Canvas. Blur Amount: Sets the amount of blur applied to the part of the image affected by the vignette. Darken: Sets the amount the affected part of image is darkened by the vignette. Saturation: Sets the amount of color saturation applied to the parts of the image affected by the vignette. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Size, Falloff, Blur Amount, Darken, and Saturation. 1096 Chapter 19 Using Filters Wavy Screen Reduces an image to a high-contrast grayscale version of itself, then screens the resulting image using a pattern of angled lines, simulating an etched screening technique. The image is represented by varying thicknesses in the pattern of the zigzagging lines. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Wavy Screen applied Parameters in the Inspector Amplitude: Sets the amplitude of the waves. Wavelength: Sets the wavelength. Scale: Sets the scale of the waves. Contrast: Sets the contrast of the screen. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Amplitude, Wavelength, Scale, and Contrast. Tiling Filters Tiling filters create geometric patterns from simple to complex, using shapes that are arranged into mosaics. Kaleidoscope Simulates the effect of looking at an image through a kaleidoscope. It is not automatically animated, but by animating the Offset Angle parameter you can simulate the effect of twisting the kaleidoscope’s knob to rotate the image pattern. Chapter 19 Using Filters 1097 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Kaleidoscope applied Parameters in the Inspector Center: Sets the position of the center of the kaleidoscope. Drag the Center onscreen control to adjust its value in the Canvas. Segment Angle: Sets the angle at the tip of each triangular tile. Drag the outer handle of the onscreen control to adjust this value. Offset Angle: Sets the rotation of the whole kaleidoscope. Values range from 0 to 360. Drag the inner handle (between the center and outer handle) of the onscreen control to adjust this value. Partial Segments: Sets whether partial segments are used to complete the radius of the kaleidoscope. When Partial Segments is deselected, segments may be distorted to map them across the radius of the kaleidoscope with facets of equal size. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Segment Angle and Offset Angle. Kaleidotile Simulates looking through a kaleidoscope with rectangular facets. This filter is not automatically animated, but by animating the Angle parameter you can simulate the effect of twisting the kaleidoscope to rotate the image pattern. 1098 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Kaleidotile applied Parameters in the Inspector Center: Sets the origin of the kaleidotile effect. Drag in the center of the onscreen control (the box) to adjust this value in the Canvas. Width: Sets the width of the panels of the kaleidotile effect. Drag the right or left center handle of the onscreen control to adjust this value. Drag a corner handle to adjust the Width and Height parameters simultaneously. Height: Sets the height of each panel. Drag the top or bottom center handle of the onscreen control to adjust this value. Drag a corner handle to adjust the Height and Width parameters simultaneously. Angle: Sets the angle of rotation of the panels. Drag a corner handle in an arc to adjust this value. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Width, Height, and Angle. Chapter 19 Using Filters 1099 Offset Treats an object as a tile, offsetting its horizontal and vertical origins but displaying the entire object. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Offset applied, mix at 50% Parameters in the Inspector Horizontal Offset: Sets the horizontal offset of the object. Vertical Offset: Sets the vertical offset of the object. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Horizontal Offset and Vertical Offset. Parallelogram Tile Simulates looking through a kaleidoscope with facets made of parallelograms. This filter is not automatically animated, but by animating the Angle parameter you can simulate the effect of twisting the kaleidoscope to rotate the image pattern. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Parallelogram Tile applied 1100 Chapter 19 Using Filters Parameters in the Inspector Center: Sets the position of the origin of the parallelogram tiles. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the panels. Acute Angle: Sets the acute angle at which the parallelogram sides meet. Tile Size: Sets the size of the panels. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle, Acute Angle, and Tile Size. Perspective Tile Endlessly tiles an image, mapping it onto a grid that can be positioned in simulated 3D space. Use Perspective Tile to create an endlessly repeating video wall stretching off into the distance. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Perspective Tile applied Parameters in the Inspector Top Left: Sets the position of the top-left corner of the grid. Drag the onscreen control handles to adjust the right and left tile values. Top Right: Sets the position of the top-right corner of the grid. Bottom Right: Sets the position of the bottom-right corner of the grid. Bottom Left: Sets the position of the bottom-left corner of the grid. Chapter 19 Using Filters 1101 Note: Drag the onscreen control handles to adjust the Top Left, Top Right, Bottom Right, and Bottom Left values. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls None. Random Tile Tiles an image in an irregular pattern with circular panels. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Random Tile applied Parameters in the Inspector Center: Sets the center point on the object where the tiles are generated. Values are coordinates. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of each tile. Feathering: Sets the amount of feathering applied to the edges of each tile. Seed: Sets a number to be used as a seed for tile placement and stacking. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Radius, Feathering, and Seed. Tile Tiles an image. The number of tiles depends on the value of the Scale parameter. 1102 Chapter 19 Using Filters This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Tile applied Parameters in the Inspector Center: Sets the position of the origin of the tiles. Drag the Center onscreen control to adjust its value in the Canvas. Skew: Sets the amount of skew applied to tiles. Scale: Sets how much tiles are scaled. Stretch: Sets the amount tiles are stretched vertically. Angle: Sets the angle of rotation of tiles. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Skew, Scale, Stretch, and Angle. Triangle Tile Tiles an image with triangular shaped panels. The effect is similar to a kaleidoscope filter. This filter is not automatically animated, but by animating the Angle parameter you can simulate the effect of twisting the kaleidoscope to rotate the image pattern. Chapter 19 Using Filters 1103 This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Triangle Tile applied Parameters in the Inspector Center: Sets the origin of the tile. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the triangles. Tile Size: Sets the size of the triangles. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Angle and Tile Size. Time Filters Other filters manipulate objects in two or three dimensions, but this group filters manipulates objects in the fourth dimension—time. Time filters are most often used with moving footage. Echo Echoes an object’s motion by repeating frames. As a result, moving areas of an image leave a streaking trail behind. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Delay: Sets the amount of delay between echoes. Values range from 0.1 to 1. A value of 0.1 is a zero frame echo, and a value of 1 represents a 60-frame echo. 1104 Chapter 19 Using Filters Number: Sets the number of echoes. Decay: Sets the amount of time it takes for an echo to decay. Amount: Sets the relative opacity of each echo. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Delay, Number, Decay, and Amount. Scrub Moves a virtual playhead around a clip, allowing you to change the timing of the clip without moving it in the Timeline. Additionally, this filter allows you to animate the offset parameter, often with interesting results. Try adding the Scrub filter to a clip, then apply the Randomize behavior to the Frame offset, with the “Offset from” parameter set to Current Frame. Also, you can create a hold frame by setting Offset to First Frame, then using “Frame offset” to find the frame you want. Important: Scrub does not affect clip audio. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Frame offset: Sets the offset of the virtual playhead. Offset from: Sets the position where the virtual playhead is offset. Values include First Frame or Current Frame. Frame Blending: Turns the blending between frames on and off. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Frame offset, Offset from, and Frame Blending. Strobe Strobes the image by holding frames for a set duration. As a result, moving images appear to skip frames as they play. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Strobe Rate: Controls the number of frames played back per second. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following control: Strobe Rate. Chapter 19 Using Filters 1105 Trails Draws light or dark trails following an object’s movement. This filter is only effective with moving images. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Duration: Sets the duration of trails. Echoes: Sets the number of echoes trailing behind. Decay: Sets whether trails decay over time or disappear at the end of the duration. Trail On: Sets the value type that triggers trails. This pop-up menu can be set to Light or Dark. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Duration, Echoes, Decay, and Trail On. WideTime Holds frames before and after the current frame to stretch the image’s motion out in time. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Duration: Sets the number of frames before and after the current frame that are blended. Decay: Sets the amount of time the added frames are held. Amount: Sets the amount of opacity of the delayed object being overlaid. Values range from 0 (no reduction) to 1.0 (transparent). Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Duration, Decay, and Amount. Video Filters Video filters are utilitarian in nature, and can help prepare a project for broadcast output. Broadcast Safe Limits the range of luminance or chrominance in an image to the broadcast legal limit. 1106 Chapter 19 Using Filters Parameters in the Inspector Video Type: Sets the rule set to be used for filtering image data. Value can be NTSC or PAL. Fix Method: Sets the type of fix to be made to the image: Luminance or Reduce Saturation. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Video Type and Fix Method. Deinterlace Deinterlaces an interlaced object using one of several possible methods. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Dominant Field: Selects the dominant field. Value can be Upper or Lower. Method: Sets how the object is interlaced. This pop-up menu has three options: • Duplicate: The nondominant field is eliminated and the data from the dominant field is duplicated to fill in the missing lines. • Interpolate: The nondominant field is eliminated and a new field is created by averaging each pair of adjacent video lines to create new ones. • Blend: The nondominant field is eliminated and new lines are created by averaging the eliminated line with each pair of adjacent video lines. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Dominant Field and Method. Chapter 19 Using Filters 1107 Motion has a flexible tool set that you can use to create simple shapes, complex illustrations, and paint effects right in your project. The same techniques you use for drawing can also be used to mask layers to produce a wide variety of transparency effects, to crop out parts of still images, and to rotoscope moving subjects. This chapter covers the following: • About Shapes, Masks, and Paint Strokes (p. 1110) • The Difference Between Shapes, Paint Strokes, and Masks (p. 1111) • Shape and Mask Drawing Tools (p. 1112) • Editing Shapes (p. 1119) • Adding Shapes from the Library (p. 1145) • Copying Styles Between Shapes (p. 1145) • Shape Parameters (p. 1146) • Shape Controls in the HUD (p. 1167) • Creating Illustrations Using Multiple Shapes (p. 1168) • Creating Holes and Transparency in Shapes (p. 1170) • Applying Filters to Shapes (p. 1171) • Animating Shapes (p. 1172) • Shape Behaviors (p. 1172) • Keyframing Shape Animation (p. 1188) • Saving Shapes and Shape Styles (p. 1190) • Using Masks to Create Transparency (p. 1194) • Mask Parameters (p. 1210) • Applying Image Masks to a Layer (p. 1214) • Image Mask Parameters (p. 1217) • Using Masks to Aid Keying Effects (p. 1218) • Converting Between Shapes and Masks (p. 1222) 1109 Using Shapes, Masks, and Paint Strokes 20 • Manipulating Alpha Channels Using Filters (p. 1224) About Shapes, Masks, and Paint Strokes Shapes and masks are vector-based objects drawn and edited using control points that define mathematical curves. Each control point in a shape defines some sort of corner or curve, and the actual spline that makes up the shape connects these control points together like a connect-the-dots drawing. You can edit or animate any shape by moving and editing its control points or by applying a Shape behavior. Shape behaviors are designed specifically to be applied to shapes and masks, and perform tasks such as oscillating the position of the control points, tracking the control points, drawing a shape over time (“writing on”), as well as randomizing or wriggling the position of the control points. As with all layers in Motion, you can also apply Basic Motion, Parameter, and Simulation behaviors to shapes. A paint stroke is a shape created in one of two ways: You can “paint” the stroke in the Canvas using the Paint Stroke tool in the toolbar, or you can modify the outline of an existing shape. The Paint Stroke tool allows you to use a stylus and graphics tablet (or a mouse) to create a paint stroke, rather than drawing the shape in a point-by-point fashion (like a Bezier or B-Spline shape). In addition to sharing other shape outline parameters, paint strokes have a unique tool set that allows you to change the look of the paintbrush and to create particle-type effects with the stroke. Paint strokes have a special behavior called Sequence Paint, which allows you to sequence the stroke parameters over time, including opacity, rotation, and scale. The Paint Stroke feature is a design and graphics tool, not a retouching or rotoscoping tool. Note: Using a stylus and graphics tablet is recommended when using the paint feature. Although you can create paint strokes using the mouse, a pen allows for a more fluid creation of strokes. Because shapes are mathematically defined, you can take advantage of the vector nature of shapes to resize them by any amount, without introducing unwanted artifacts. Shapes are similar to imported PDF objects in that they’re completely resolution-independent. You can save a shape or a shape style to the Library. This means that after you create or animate that shape, or both, you can save it to the Library for use in a future project. You can also save just the style of a shape—such as a custom gradient fill or modified brush stroke. 1110 Chapter 20 Using Shapes, Masks, and Paint Strokes The Difference Between Shapes, Paint Strokes, and Masks Shapes are primarily used to create all kinds of visual elements. They work like any other layer, except that they are created in Motion and are stored in your project file. A single shape can be used as a background or colored graphic in a composition, or you can create complex illustrations using many shapes. Each illustration below is composed of shapes created in Motion. Character drawn in Motion using Bezier tool Replicator using Bezier shape You can create a paint stroke from scratch, or convert an existing shape to a paint stroke. Unlike shapes that are created one point at a time, a paint stroke is created in one continuous movement. You can use the stroke as a whole, or create unique graphic elements that can be drawn on over time. Although paint strokes share the same parameters as all other shapes, they have additional specialized parameters. Paint stroke with applied Sequence Paint behavior Chapter 20 Using Shapes, Masks, and Paint Strokes 1111 Masks are used to create regions of transparency in layers. Although shapes work as layers by themselves, masks must be assigned to a layer to have an effect. For example, if you have a picture in which you want to isolate the foreground subject, you can create a mask to cut out the background. Original layer Mask Masked layer You can animate shapes, masks, and paint strokes using behaviors and keyframes. Shapes also have their own special category of behaviors. What’s more, you can animate the control points used to create each shape or mask in your project. This allows you to animate the actual form of each shape, in addition to the shape’s basic position, rotation, and scale parameters. Shape and Mask Drawing Tools Shapes and masks (and paint strokes) are made with splines, and they’re created and edited using similar tools. This section covers the two spline-drawing methods available in Motion: Bezier splines and B-Splines. You can use Bezier shapes and B-Spline shapes interchangeably for any task. The default shape type is Bezier. 1112 Chapter 20 Using Shapes, Masks, and Paint Strokes Bezier splines are good for drawing shapes for illustration. The controls used to manipulate Bezier splines are similar to those found in many other drawing and compositing applications, so they may be familiar to you. Bezier controls lend themselves to the creation of precise, detailed shapes. Tangent handles adjust the curvature of the shape on either side of the control point, and this defines the surface of the shape. Tangent handles Bezier control point B-Splines can also be used to draw shapes, but unlike Bezier controls, B-Splines are manipulated using only points—there are no tangent handles. Furthermore, the points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. By combining the influence of multiple B-Spline points, you can create different curves. B-Splines are extremely smooth—by default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary. B-Spline control point Because B-Spline controls are so simple, they’re easy to animate and manipulate. The tools you use for a specific task are largely a matter of personal preference. Note: Shapes drawn with Bezier and B-Spline tools can be converted into paint strokes by selecting the shape’s Outline checkbox and choosing a different brush type in the Inspector. For more information, see Creating Paint Strokes. Chapter 20 Using Shapes, Masks, and Paint Strokes 1113 Drawing Masks and Shapes Using Bezier Splines This section describes how to draw a Bezier shape from scratch. These methods are identical whether you use the shape or masking tools. This section focuses on drawing shapes. For more information on drawing masks, see Using Masks to Create Transparency. To draw a Bezier shape 1 Choose the Bezier tool from the pop-up menu in the toolbar (or press B). Note: The Bezier Mask tool is located in the mask tools pop-up menu in the toolbar. The Bezier Tool HUD appears. (If it does not appear, press F7.) To change the color of the shape before it is drawn, use the color controls in this HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. After you create the shape, the Shape HUD appears. Note: Outlines can be added and edited after a shape is drawn. 2 Click in the Canvas to draw the first point. 3 To add points to further define the shape, do one of the following: • Click to make a linear corner point. 1114 Chapter 20 Using Shapes, Masks, and Paint Strokes • Click, then drag to make a curved Bezier point, adjusting it to the shape you want. Note: Press Shift while making a curved point to constrain its tangents to 45-degree angles. While you’re drawing a shape, you can also use any of the point-editing procedures described below to move and adjust existing control points before finishing the shape. You can adjust any control point except the first one you created, because clicking the first point closes the shape. Tip: If you need a closer look at what you’re doing, magnify the Canvas while drawing a shape. Press Command-Equal Sign (=) to zoom in and Command-Hyphen (-) to zoom out. You can scroll around by pressing the Space bar as you drag in the Canvas. If you have a Multi-Touch trackpad, it’s even easier: pinch open or closed to zoom in or out, and use a two-finger swipe to scroll around. 4 To finish the shape, do one of the following: • Click the first point you drew to create a closed shape. • Press C to close the shape, joining the first point you created to the last. • Double-click anywhere in the Canvas to create the last point of an open shape. Chapter 20 Using Shapes, Masks, and Paint Strokes 1115 • Press Return to create the last point of an open shape. Note: Before a shape is closed, you can press Esc to cancel the entire operation, deleting the shape. Immediately after finishing a shape, the Shape HUD appears and the Edit Points tool is selected, which allows you to edit the shape you’ve just created. Drawing Masks and Shapes Using B-Splines This section describes how to draw a B-Spline shape. These methods are identical whether you’re using the shape or masking tools, but this section focuses on drawing shapes. For more information on drawing masks, see Using Masks to Create Transparency. To draw a B-Spline shape 1 Choose the B-Spline tool from the pop-up menu in the toolbar (or press B). Note: If the Bezier tool is selected, pressing B once selects the B-Spline tool. If another tool is selected, such as the Text tool, press B twice to select the B-Spline tool. The B-Spline Mask tool is located in the mask pop-up menu in the toolbar. 1116 Chapter 20 Using Shapes, Masks, and Paint Strokes The B-Spline Tool HUD appears. (If it does not appear, press F7.) To change the color of the shape before it is drawn, use the color controls in this HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. After you create the shape, the Shape HUD appears. 2 Click in the Canvas to draw the first point. 3 Continue clicking to draw additional points to define the shape you need. Note: Press Shift while making a curved point to constrain its tangents to 45-degree angles. As you create new B-Spline control points, keep the following in mind: • The control points you draw influence the shape of the curve from a distance. They do not lie directly on the surface of the curve. • To create more detailed curves, create more points. However, it’s best to use the fewest number of points necessary to create the amount of detail you need. Shapes with an excessive number of points can be difficult to edit later on. • In many instances, it is easier to create a loose group of control points first and then adjust them afterwards to create the precise curve you need in a later step. 4 While drawing a shape, you can move and adjust the control points you’ve created before finishing the shape. You can adjust any control point except the first one you created, because clicking the first point closes the shape. Tip: If you need a closer look at what you’re doing, you can magnify the Canvas while in the middle of drawing a shape. You can also scroll around by pressing the Space bar while you drag in the Canvas. 5 When you’re ready to finish your shape, do one of the following: • Click the first point you drew to create a closed shape. • Press C to close the shape, joining the first point you created to the last. • Press Return to finish an open shape at the last point you made. • Double-click anywhere in the Canvas to define the last point of an open shape. Note: You can press Esc to cancel the entire operation and delete the shape. Immediately after finishing a shape, the Shape HUD appears and the Edit Points tool is selected, which allows you to edit the shape you’ve just created. Controlling B-Spline Curvature Each control point on a B-Spline path affects the curvature of the shape nearby. By default, these curves are very rounded, but you can adjust the degree of roundness, even creating corner points by adjusting the control point weight handle. To modify the smoothness of B-Spline control points 1 Create a shape using B-Splines. Chapter 20 Using Shapes, Masks, and Paint Strokes 1117 2 With the Edit Points tool selected, Command-drag a control point. A weight handle appears. 3 Drag the weight handle away from the control point to sharpen the path or towards the control point to smooth the path. Drawing Masks Using the Freehand Mask Tool This section describes how draw a freehand mask. Like the Paint Stroke tool, the Freehand Mask tool allows you to create a shape in one movement, rather than drawing the shape in a point-by-point fashion (like a Bezier or B-Spline shape). For best results, use a stylus and tablet when using the Freehand Mask tool. For more information on drawing masks, see Using Masks to Create Transparency. To draw a freehand mask 1 Select the layer to mask, choose the Freehand Mask tool from the mask pop-up menu in the toolbar. The Freehand Mask Tool HUD appears. 2 Adjust the controls in the Freehand Mask Tool HUD. • To change the blend mode of the mask before it is drawn, use the Mask Blend Mode pop-up menu in this HUD. • Adjust the Feather slider to soften the mask. Positive values spread the feathering outward, while negative values feather the shape inward. 1118 Chapter 20 Using Shapes, Masks, and Paint Strokes 3 Do one of the following: • If using a mouse, click in the Canvas, but don’t release the mouse button. • If using a tablet, touch the stylus on the tablet to begin drawing the mask in the Canvas. Continue drawing around the layer you are masking. To close the mask, finish the line at the mask’s starting point. A small circle appears when the pointer is over the starting point. Note: If you don’t close the mask at its starting point, the mask is closed when you release the mouse button. A small circle indicates target to close mask. The mask is completed. 4 Edit your control points to fine-tune the mask. For more information on editing control points, see How to Edit Shapes. Editing Shapes After you draw a shape using the Bezier or B-Spline shape tools, you can adjust the fill, outline, and feathering to suit your needs. Note: You can only feather shapes that have the outline turned off. To edit a shape’s outline 1 Select a shape, then open the Shape Inspector. 2 To manipulate the shape’s outline, do any of the following in the Style pane of the Shape Inspector: • To turn a shape’s outline on or off, click the Outline checkbox. When selected, the checkbox turns blue. • To change the color of the outline, use the Brush Color parameter in the Outline controls. • To change the width of the outline, drag the Width slider. Note: You can also use the Shape HUD to turn the outline on and off, and to change its color, roundness, and width. Chapter 20 Using Shapes, Masks, and Paint Strokes 1119 • To change how the outline’s sharp corners are drawn, choose an item from the Joint pop-up menu. • To change the shape of an outline’s start and end caps, choose an item from the Start Cap or End Cap pop-up menu. • To change whether the outline appears over or under a shape’s fill, choose a command from the Order pop-up menu. • To change the outline from the default solid to an editable paint stroke, set Brush Type to Airbrush or Image. For more information, see Style Pane Controls in the Inspector. 3 To change the roundness of the outline, adjust the Roundness slider in the Geometry pane of the Shape Inspector (or in the Shape HUD). To create filled or empty shapes 1 Choose the Bezier or B-Spline shape tool (press B). 2 Create the necessary control points for the shape you need. For more information, see Shape and Mask Drawing Tools. 3 When you’re ready to close the shape, click the first point you created. 4 By default, new closed shapes are filled. To make the shape empty, select it, then deselect the Fill checkbox in the Style pane of the Shape Inspector (or in the Shape HUD). Filled shape Empty shape To edit a shape’s fill 1 Select a shape, then open the Shape Inspector. 2 In the Style pane of the Shape Inspector, do any of the following: • To turn a shape’s fill on or off, click the Fill checkbox. • To change a shape’s fill mode from a solid color to a gradient, choose an item from the Fill Mode pop-up menu. • If the shape’s fill mode is set to a solid color, you can choose the color using the Fill Color controls. 1120 Chapter 20 Using Shapes, Masks, and Paint Strokes • If the shape’s fill mode is set to a gradient, you can choose a gradient from the gradient preset pop-up menu, or click the Gradient parameter’s disclosure triangle to display the gradient editor and create your own custom gradient. For more information on using gradient editors, see Gradient Controls. To feather a shape 1 Select the shape to feather. 2 If the shape’s outline is visible, deselect the Outline checkbox in the Style pane of the Shape Inspector. 3 Adjust the Feather slider in the HUD or in the Style pane of the Shape Inspector. Positive values spread the feathering outward, while negative values feather the shape inward. 4 Optionally, you can also adjust the Falloff parameter in the Style pane of the Shape inspector, which controls how steep the feathering is. Feathered out Feathered in Tip: You can also blur a shape using filters. For more information, see Applying Filters to Shapes. Creating Rectangles, Circles, and Lines The Rectangle and Line tools create simple linear shapes. The Circle tool creates a simple Bezier shape. After a shape is drawn, it can be converted to a Linear, Bezier, or B-Spline shape in the Inspector. The resulting shapes can be edited like any other Bezier shape, using the methods described in How to Edit Shapes. To make a rectangle 1 Select the Rectangle tool in the toolbar (or press R). Chapter 20 Using Shapes, Masks, and Paint Strokes 1121 The Rectangle Tool HUD appears. To change the color or roundness of the shape before it is drawn, use the controls in the HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. The Rectangle shape layer does not appear in the Layers list until the shape is drawn. Note: Outlines can be added and edited after a shape is drawn. 2 Click in the Canvas to define the first corner of the rectangle, drag until the resulting rectangle is the size you want, then release the mouse button to finish drawing. Note: To create a perfect square, press Shift while you drag. To draw the rectangle from its center, press Option while you drag. 3 After you create the shape, press Esc to exit shape-drawing mode and activate the Select/Transform tool. The Shape HUD appears. To make a rounded rectangle 1 Create a rectangle shape as described above. 2 Do one of the following: • Drag the roundness handle in the upper left corner of the shape. Roundness handle • In the HUD, adjust the Roundness slider. Note: You can also set the Roundness value in the Shape HUD before drawing the rectangle. • In the Inspector, open the Geometry pane and adjust the Roundness slider. 1122 Chapter 20 Using Shapes, Masks, and Paint Strokes To make a circle 1 Choose the Circle tool from the shape tools pop-up menu in the toolbar (or press C). The Circle Tool HUD appears. To change the color of the shape before it is drawn, use the color controls in the HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. 2 Click in the Canvas to define the start point of the bounding box that defines the circle, drag until the resulting circle is the size you want, then release the mouse button to finish drawing. Note: To create a perfectly symmetrical circle, press Shift while you drag. To draw the circle from its center, press Option while you drag. Tip: If you change a circle’s Shape Type to B-Spline in the Geometry pane of the Shape Inspector, you can use different methods to manipulate the circle. 3 After you create the shape, press Esc to activate the Select/Transform tool. The Shape HUD appears. To make a line 1 Choose the Line tool from the shape tools pop-up menu in the toolbar. The Line Tool HUD appears. To adjust the color and width of the line before it is drawn, use the controls in the HUD. 2 Click in the Canvas to define the start point of the line, and keep holding down the mouse button. 3 Drag until the resulting line is the length you want, then release the mouse button. Tip: Pressing Shift while dragging constrains the line movement to 45-degree angles. Important: Because a line is really an outline, all Outline parameters in the Inspector apply to a line. Chapter 20 Using Shapes, Masks, and Paint Strokes 1123 4 After you create the shape, press Esc to activate the Select/Transform tool. The Shape HUD appears. Note: Rectangles and circles can be converted into paint strokes by selecting the shape’s Outline checkbox and choosing a different brush type in the Inspector. For more information, see Using a Shape Outline as a Paint Stroke. Creating Paint Strokes Unlike a freehand Bezier or B-Spline shape drawn one point at a time, a paint stroke is typically created with one continuous movement. Technically, paint strokes are outline-only shapes created using any shape tool. An outline-only shape is indicated by a paintbrush icon in the Layers list and Timeline. This icon changes to a shape icon when a shape fill is enabled. Note: The Paint Stroke feature is a design and graphics tool, not a retouching or rotoscoping tool. There are two ways to create a paint stroke: • Select the Paint Stroke tool in the toolbar, then draw a stroke in the Canvas using a stylus and tablet (or a mouse). • Create a shape (paint stroke, line, rectangle, or circle) in the Canvas, select the Outline checkbox in the Style pane of the Shape Inspector, then choose Airbrush or Image from the Brush Type pop-up menu. For more information about converting a shape to an editable paint stroke, see Using a Shape Outline as a Paint Stroke. The Paint Stroke tool creates a shape outline comprised of dabs. Dabs—analogous to the cells of a replicator or particle emitter—define the appearance of the stroke. Although particle cells can emit various particle types, airbrush paint strokes have only a single dab type. The dabs can be very close together or spaced widely apart along the stroke. The dabs’ color, opacity, spacing, scale, angle, and so on can be modified in the Inspector after a stroke is created. For more information on modifying a paint stroke after the stroke is created, see Stroke Pane Controls in the Inspector. Paint strokes can be animated using behaviors or by keyframing. In addition to Basic Motion, Simulation, and Parameter behaviors, shapes have their own category of behaviors that includes a behavior to sequence effects over the length of the stroke. For more information on using the Shape behaviors, see Shape Behaviors. 1124 Chapter 20 Using Shapes, Masks, and Paint Strokes Note: The stroke’s shape (defined by its control points) and open/closed state can be modified in the Canvas or Inspector. Because a stroke is a shape, it can be edited like any other shape, using the methods described in How to Edit Shapes. After you select the Paint Stroke tool in the toolbar and before drawing the stroke in the Canvas, you can define the color and other attributes of the stroke in the Paint Stroke Tool HUD. In the HUD, you select a preset shape style to use as your brush source. There are several ways to set the style of a paint stroke: • Select a preset shape style in the Paint Stroke Tool HUD before drawing a stroke. If no preset shape is selected before drawing a stroke, a basic solid stroke (outline) is created. • Modify a paint stroke created with the Paint Stroke tool using the Shape Style pop-up menu in the Style pane of the Shape Inspector. • Select the Outline checkbox in the Shape HUD or the Style pane of the Shape Inspector, then modify the outline of a shape (circle, rectangle, and so on) using the Outline parameter controls. • Drag a shape style (in the Shape Styles category) from the Library to the paint stroke layer in the Layers list. The style of the shape from the Library is applied to the paint stroke. Depending on the effect you want, you may achieve better results using a stylus and tablet with the Paint Stroke tool. Many styles and brushes take advantage of the pen pressure and speed applied when creating the stroke using a graphics tablet. You can apply the pressure or speed to different stroke parameters, such as width, opacity, and spacing. For example, choosing Width from the Pen Pressure pop-up menu in the Paint Stroke Tool HUD results in wider strokes when you apply more pen pressure. Using the Write On parameter, you can record a stroke so it “draws” over time. In this case, a Write On Shape behavior is applied to the stroke using as its settings the time it took to draw the stroke and the speed at which each section of the stroke was created. These settings can be modified after the stroke is created. A Write On behavior can also be applied after a paint stroke is created. For more information on using the Write On behavior, see Write On. To make a paint stroke 1 Select the Paint Stroke tool (or press P). The Paint Stroke tool HUD appears. (If it doesn’t appear, press F7.) Chapter 20 Using Shapes, Masks, and Paint Strokes 1125 Important: Like the other drawing tool HUDs, the Paint Stroke Tool HUD is available only after the Paint Stroke tool is selected and before you create your stroke in the Canvas. The Paint Stroke Tool HUD allows you to determine the properties derived from the pressure and speed of the stylus before the stroke is drawn. 2 Define a paint stroke style in the HUD: a Choose an option from the Shape Style preset pop-up menu. b Modify the Brush Color and Width settings. If a preset is not used, a basic solid stroke is created. You can still apply a preset to the stroke using the Inspector. Presets do not override the width or color of the stroke set in the HUD. Note: The Pen Pressure and Pen Speed parameters become available depending upon the chosen style. These parameters are not available with a solid brush type. 3 If you want to create a stroke that is drawn over time, select the Write On checkbox. When a paint stroke is created with the Write On checkbox selected, a Write On behavior is applied to the stroke. As with any other behavior, you can modify its parameters in the HUD or Inspector. For more information on using the Write On behavior, see Write On. 4 Draw your stroke in the Canvas, then press S or Esc to activate the Select/Transform tool. The Paint Stroke Tool HUD is replaced with the Shape HUD, which contains basic parameters identical to all other shape HUDs. Consequently, after a stroke is drawn, you must use the Inspector to modify parameters unique to the paint stroke and its dabs. The lower portion of the Paint Stroke Tool HUD contains a sketch area that allows you to preview a paint stroke effect. To preview the paint stroke in the Paint Stroke Tool HUD 1 Select the Paint Stroke tool in the toolbar. 1126 Chapter 20 Using Shapes, Masks, and Paint Strokes 2 Do one of the following: • Select any brush style in the Paint Stroke Tool HUD, then draw a stroke in the sketch area to see a preview of the paint stroke. • Select the Write On checkbox, draw a stroke in the sketch area, then click the Play button to see a preview of the write-on stroke. • Apply a preset from the Shape Style pop-up menu to an existing stroke in the sketch area. If the preset is an animated stroke, the stroke is automatically drawn in the sketch area. Press the Play button to see the stroke animation again. Note: To create a paint stroke that is “painted” on the Canvas over time (if your chosen preset is not animated), select the Write On checkbox in the HUD before drawing the paint stroke in the Canvas. Important: Some operations, as well as the application of some filters or a mask, cause a group to be rasterized. Because all paint strokes live in groups, this affects how strokes interact with other objects in your project. For more information, see Groups and Rasterization. Paint Stroke Tool HUD Parameters The Paint Stroke Tool HUD appears after the Paint Stroke tool is selected in the toolbar and before a stroke is drawn. This HUD contains controls that define the color and width of the stroke and how pen pressure and speed affect the stroke (opacity, width, and so on), a checkbox that allows the stroke to be “drawn in” over time, smoothing controls, and a Shape Style pop-up menu for quick access to preset brush styles and a sketch area for sampling these brush styles. Brush Color: A color well and eyedropper that set the color of the brush. For more information on using these controls, see Color Controls. Width: A slider that defines the width of the paint stroke. Pen Pressure: When creating paint strokes, this pop-up menu allows you to determine stroke properties derived from the pressure of your pen before creating the stroke. This parameter is not available for solid brush types. Choose from one of the following: Note: Only strokes drawn using a stylus and tablet will have recorded pressure variations. • Nothing: Pen pressure is ignored. • Width: The harder the pen pressure, the wider the stroke. To adjust the width of the dabs after the stroke is created, use the width and brush scale controls in the Style and Stroke panes. • Opacity: The harder the pen pressure, the more opaque the stroke. To adjust the opacity of the dabs after the stroke is created, use the opacity controls in the Style or Stroke pane. Chapter 20 Using Shapes, Masks, and Paint Strokes 1127 • Spacing: The harder the pen pressure, the greater the spacing between stroke dabs. To adjust the spacing of the dabs after the stroke is created, use the spacing controls in the Style or Stroke pane. • Angle: The harder the pen pressure, the greater the angle of the stroke dabs. To adjust the angle of the dabs after the stroke is created, use the angle controls in the Stroke pane. • Jitter: The harder the pen pressure, the larger the amount of jitter on the stroke. Jitter randomizes the position of the paint dabs, giving the dabs a particle-like appearance. To adjust the jitter of the dabs after the stroke is created, use the jitter controls in the Stroke pane. Note: You can affect multiple parameters on a single stroke, such as pressure affecting opacity and spacing. Choose an option, such as Opacity, before the stroke is created. After you create the stroke, apply a pen shape behavior to the stroke and apply the action to another parameter, such as Spacing. For more information on the pen shape behaviors, see Shape Behaviors. Pen Speed: This pop-up menu allows you to affect the stroke’s width, opacity, spacing, angle, and jitter based on the speed recorded when drawing the stroke with the paint stroke tool. These settings can be applied to paint strokes created using a stylus and graphics tablet or mouse. This parameter is not available for solid brush types. Choose from one of the following: • Nothing: Pen speed is ignored. • Width: The faster you move the pen, the more narrow the stroke; the slower you move the pen, the wider the stroke. To adjust the width of the dabs after the stroke is created, use the width and brush scale controls in the Style and Stroke panes. • Opacity: The faster you move the pen, the less opaque the stroke. To adjust the opacity of the dabs after the stroke is created, use the opacity controls in the Style or Stroke pane. • Spacing: The faster you move the pen, the greater the spacing between the dabs of the stroke. To adjust the spacing of the dabs after the stroke is created, use the spacing controls in the Style or Stroke pane. • Angle: The faster you move the pen, the greater the angle of the stroke dabs. To adjust the angle of the dabs after the stroke is created, use the angle controls in the Stroke pane. • Jitter: The faster you move the pen, the larger the amount of jitter on the stroke. Jitter randomizes the position of the paint dabs so they appear more like particles. To adjust the jitter of the dabs after the stroke is created, use the jitter controls in the Stroke pane. Write On: This checkbox, when selected, allows a stroke to be “painted” on the Canvas over time. For more information, see Write On. 1128 Chapter 20 Using Shapes, Masks, and Paint Strokes Smoothing: Select this checkbox to create a smoother stroke with fewer control points. Paint strokes drawn with smoothing on are created as bezier shapes. Paint strokes drawn with smoothing off are created as linear shapes. Shape Style: A pop-up menu that allows you to apply a preset shape style (from the Library) to the selected shape. You can also save any custom shape style to the Library using this pop-up menu. Any stroke (shape) presets you have saved to the Library also appear in this list. Sketch area: An empty field where brush styles can be sampled in combination with the current Paint Stroke Tool HUD settings. Shapes as a Layer After you create a shape (including paint strokes), it becomes a layer. Because shape layers share most of the characteristics of other layers in Motion, you can use the transform tools—Select/Transform, Anchor Point, Drop Shadow, Distort, and Crop—to transform a selected shape layer. These onscreen tools are shortcuts to the controls in the Properties Inspector. To set specific values, or fine-tune any of the transforms, use the Properties Inspector. For more information on the Properties Inspector and onscreen transform tools, see Parameters in the Properties Inspector. Important: Some operations, as well the application of some filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. Because all shape (masks, shapes, and paint strokes) layers live in groups, this affects how shapes interact with other objects in your project. For more information, see Shapes and Rasterization. How to Edit Shapes There are two ways to edit shapes. You can edit them in their entirety, like any other object, using the 2D transform tools, or you can adjust them point by point using the Edit Points tool. You perform most of your detailed editing using a shape’s individual control points. The Select/Transform tool is better for overall transformations of an entire shape. The following guidelines apply to all shape types: shapes, masks, and paint strokes. Using Dynamic Guides and Snapping While Editing The Canvas dynamic guides and control point snapping help you connect selected points to themselves, or to other objects. To use control point snapping on a single shape 1 In the View pop-up menu above the right side of the Canvas, ensure that the Dynamic Guides item is checkmarked. 2 In the menu bar, choose View > Snap to ensure that snapping is turned on. Chapter 20 Using Shapes, Masks, and Paint Strokes 1129 When active, a check mark appears next to the menu item. 3 Select the shape to edit, then choose the Edit Points tool from the 2D transform tools pop-up menu in the toolbar. Note: In the Canvas, you can also Control-click a shape and choose Edit Points from the shortcut menu. 4 In the Canvas, drag a control point. Yellow guides appear when the selected control point aligns with itself or with the edges or center of other objects. Original shape Control point snapping to left boundary of shape To use control point snapping on multiple shapes 1 In the View pop-up menu above the right side of the Canvas, ensure that the Dynamic Guides item is checkmarked. 2 Choose View > Snap to ensure snapping is turned on. When active, a check mark appears next to the menu item. 1130 Chapter 20 Using Shapes, Masks, and Paint Strokes 3 Select the shape to edit, then choose the Edit Points tool from the 2D tools pop-up menu in the toolbar. Note: In the Canvas, you can also double-click a shape or Control-click a shape and choose Edit Points from the shortcut menu to show its control points. 4 Shift-click to select another shape. 5 In the Canvas, drag a control point on the originally selected shape. Guides appear when the selected control point aligns with other control points on the shape being edited, as well as with other shapes in the Canvas. Yellow guides appear when the selected control point aligns with itself or with the edges or center of other objects. Use the following guidelines to turn off snapping, to allow for subtle shape adjustments: • Press N to turn off snapping. Press N again to turn snapping back on. • As you begin to move the selected control point, press and hold the Command key to turn off snapping as you drag the point. Note: If you press Command and then drag a control point, adjustable tangent handles are created. If you press Command and click a curved point, that point becomes a corner point. For more information on editing Bezier curve control points, see Editing Bezier Control Points. To transform a Bezier or B-Spline shape 1 Click the Select/Transform tool. 2 Click a shape in the Canvas. 3 Move, resize, or rotate the shape. Note: To enter control point-adjustment mode in the Canvas, double-click the shape. Chapter 20 Using Shapes, Masks, and Paint Strokes 1131 When you move, resize, or rotate, a shape, you also transform its control points to match the new orientation of the shape. For more information about how to perform object transformations, see 2D Transform Tools. Displaying a Shape’s Control Points There are several ways to display the control points of a shape to allow point-by-point editing in the Canvas. To show a shape’s control points Do one of the following: µ Select the shape to edit, then choose the Edit Points tool from the 2D tools pop-up menu in the toolbar. The control points appear. µ Choose the Edit Points tool from the 2D tools pop-up menu in the toolbar, then select a shape in the Layers list or Timeline. µ Double-click a shape. µ Control-click a shape in the Canvas, then choose Edit Points from the shortcut menu. Note: Overlays must be enabled in the View pull-down menu (or the View pop-up menu) to see the control points and spline of a shape. In addition, if Handles are turned off in the View > Overlays submenu (or the View pop-up menu), you cannot see a shape’s Bezier or B-Spline control points when editing. When editing shapes, make sure that Handles are enabled (in the View pull-down menu or View pop-up menu). After you display a shape’s control points, select control points to edit them. 1132 Chapter 20 Using Shapes, Masks, and Paint Strokes While editing the control points of a shape, you can select another shape and remain in control point-adjustment mode. This allows for quick modification of multiple shapes’ control points. Selecting and Deselecting Control Points on a Shape The following tasks describe how to select and deselect control points in the Canvas. For all these procedures, use the Edit Points tool (in the 2D tools pop-up menu). To select control points Do one of the following: µ Click any control point. µ Drag a selection box over multiple points. µ Shift-click unselected control points to add them to the selection. µ Shift-drag a selection box around unselected control points to add them to the selection. Note: In Edit Points mode, when you place the pointer over a control point, an info window appears identifying the control point name. When dragging a control point, the info window displays the point’s name and coordinates. You can choose not to display this info by opening the General pane of the Motion Preferences window and deselecting Show Tooltips. To select every control point on a shape µ With the shape selected in the Canvas, choose Edit > Select All (or press Command-A). To deselect control points Do one of the following: µ Shift-click selected points. µ Shift-drag a selection box over selected points. Chapter 20 Using Shapes, Masks, and Paint Strokes 1133 To deselect every control point on a shape Do one of the following: µ Click the Canvas anywhere outside the selected shape. µ Choose Edit > Deselect All (or press Command-Shift-A). To select a specific control point (based on the order the shape is drawn) µ Enable Show Tool Info in the View pop-up menu, then position the pointer over any control point to display its control point number. Note: All shape control points are also listed by number in the Geometry pane of the Shape Inspector. Moving Control Points to Adjust a Shape Because control points define the shape, you can move control points to change the shape. For all procedures described below, use the Edit Points tool (in the 2D tools pop-up menu). Tip: You can also modify multiple control points across different shapes simultaneously by selecting them all at once. To move control points µ Select control points on the shape in the Canvas, then drag the points to a new position. As you drag selected control points, the rest of the shape stretches or curves to accommodate the change. Three shape control points selected Moving all three points simultaneously µ Press Command-Left Arrow, Command-Right-Arrow, Command-Up Arrow or Command-Down Arrow to nudge a point by one pixel (or Command-Shift to nudge by 10 pixels). To constrain the movement of selected points 1 Select control points. 2 Press Shift while you drag a selected point horizontally, vertically, or diagonally. 1134 Chapter 20 Using Shapes, Masks, and Paint Strokes Important: Selected control points can only be moved—you cannot corner-pin them. To rotate or scale them, you must use the Transform Control Points command. See Transforming Multiple Control Points. Modifying Shape Edges You can also select the line between two points and move the edge of the shape without affecting the rest of the shape. To move a shape edge 1 With the Edit Points tool active, click any edge of a shape object. The control points on either side of the line are selected. 2 Drag the line segment. The distance between the two points remains constant, but the line can be moved freely. Press Shift to constrain the movement horizontally, vertically, or diagonally. 3 To release the selection, click anywhere outside the selection, or choose a different tool in the toolbar. Transforming Multiple Control Points You can scale and rotate a group of points as if they were a single object by using the Transform Control Points command. The lines connecting the selected points to unselected points will move and adjust. To transform a group of control points 1 With the Edit Points tool selected, drag a selection box around the points you want to modify. 2 Choose Edit > Transform Control Points or press Command-Shift-T. A transform box appears around the selected points. Chapter 20 Using Shapes, Masks, and Paint Strokes 1135 Note: Transform Control Points is only available when at least two points on the same spline are selected. 3 Scale, rotate, offset the anchor point, and reposition the group of points as if they were a single object. 4 Click anywhere outside the selection, or switch to a different tool to release the selection. Adding and Deleting Control Points If you did not create enough control points to make the shape you need, you can add more to the existing shape. You can also extend or close an open shape. To add control points to a selected shape 1 Choose the Edit Points tool. 2 Do one of the following: • Option-click or double-click the edge of a shape to add a new control point. Note: To add control points to a B-Spline shape, Option-click or double-click the B-Spline frame’s edge, rather than the edge of the shape itself. • Control-click the edge of a shape, then choose Add Point from the shortcut menu. Adding more control points does not immediately change a Bezier shape, unless you drag Bezier curve points as you create them. However, adding more control points to a B-Spline shape usually changes its shape. To add control points to the end of an open shape 1 Select an open shape with the Edit Points tool. 2 Option-click anywhere outside the shape to add control points to the end of the shape. 3 Click the first point in the shape to close it (or place the pointer over the first point and press C). The closed shape is not filled. To close an open shape Do one of the following: µ With the Edit Points tool active, click the first point in the shape to close it (or press C). The closed shape is not filled. µ Control-click a control point, then choose Close Curve from the shortcut menu. µ Display the Geometry pane in the Shape Inspector, then select the Closed checkbox. You can reopen the shape by deselecting the Closed checkbox. 1136 Chapter 20 Using Shapes, Masks, and Paint Strokes To create an open shape from a closed shape Do one of the following: µ Control-click a point on the shape, then choose Open Curve from the shortcut menu. The segment before the point (in a clockwise order) is removed from the shape. This action causes the selected point to become Control Point 1 and the remaining points to be renamed accordingly. If the originally closed shape was filled, the Fill checkbox remains selected. To disable the fill, deselect the Fill checkbox in the HUD or Style pane of the Shape Inspector. µ Select the shape and deselect the Closed checkbox in the Geometry pane of the Shape Inspector. Note: The spline before the first point drawn is removed. To change the start point (the first point drawn) of the shape, Control-click a point and choose Set Start Point from the shortcut menu. If a shape has more control points than are necessary, you can delete points from it to make it easier to edit. This can be helpful if you animate the shape later on. To delete control points from a shape 1 Select a shape with the Edit Points tool. 2 Select points to delete, then do one of the following: • Choose Edit > Delete. • Control-click the selected points, then choose Delete Point from the shortcut menu. • Press Delete. The shape changes to adjust to the missing point. If you remove points from a closed shape, the shape remains closed. Before deleting point After deleting point Warning: If you delete a point from a shape that has a keyframed shape animation parameter in the Keyframe Editor, that control point is removed from the entire animation. Chapter 20 Using Shapes, Masks, and Paint Strokes 1137 Locking Control Points You can lock control points in a shape to fix them in place and prevent accidental modification. A shape with locked points can still be moved. To lock and unlock points 1 Choose the Edit Points tool, then select a shape. 2 Control-click a control point, then choose Lock Point from the shortcut menu. If the point was unlocked, it becomes locked. If the point was locked, Unlock Point appears in the shortcut menu, and the point becomes unlocked. Locked points appear gray with a black dot in the middle of the point. Editing Bezier Control Points The methods used to adjust Bezier shapes are similar to those used by many other applications. Bezier control points are widely used to modify curves, and allow you to easily draw any shape you may need. Each point in a Bezier shape can be converted from a hard corner to a curve. Note: For all procedures described below, use the Edit Points tool (in the 2D tools pop-up menu). To convert control points from corners to curves and vice versa Do one of the following: µ Command-click a curved point to turn it into a corner (Linear) point. µ Command-drag a corner point to turn it into a curved (Bezier) point, creating adjustable tangent handles. 1138 Chapter 20 Using Shapes, Masks, and Paint Strokes µ Control-click selected points, then choose Linear, Smooth, or Very Smooth (for B-Splines) from the shortcut menu to change the control point type. Curved Bezier control points have two tangent handles that you use to adjust the curvature of the shape on either side of the control point. These handles can be adjusted in various ways to create symmetrical and asymmetrical curves. By default, these tangent handles are locked to one another at an angle of 180 degrees, although this can be overridden to allow each tangent to be independently adjusted. Important: If Record (automatic keyframing) is turned on, turning a corner into a curve causes an animated effect in which the corner gradually turns into the curve. To adjust a Bezier curve using the control point’s tangent handles Do one of the following: µ Drag a tangent handle to adjust its length. By default, the opposing tangent is locked to 180 degrees, and adjusting the angle of one tangent adjusts the other. However, the length of each tangent can be independently adjusted. Chapter 20 Using Shapes, Masks, and Paint Strokes 1139 µ Option-drag either tangent to break the relationship between opposing tangents. After this relationship is broken, adjustments to one tangent have no effect on the other, and both tangents can be rotated freely. µ Control-click a handle control point, then choose Break Handle from the shortcut menu to break the relationship between opposing handles. µ Option-drag a broken tangent or Control-click a handle control point and choose Link Handle from the shortcut menu to lock the angle of the tangents together again. The tangents now maintain their relationship when moved and rotated. Note: You can also press Command-Option and drag a control point so the tangents maintain their broken relationship when moved and rotated. µ Control-click a handle control point and choose Align Handles from the shortcut menu to align the tangents to a 180-degree angle. Tip: Press Shift while you adjust a tangent to constrain its movement to 45-degree angles. 1140 Chapter 20 Using Shapes, Masks, and Paint Strokes To simultaneously modify the handles for more than one control point, Shift-select the points (on the same spline) and then adjust the tangents. Important: If Record (automatic keyframing) is enabled, curve adjustments are keyframed, creating animated shape changes. Additionally, if a keyframe has been added to the Control Points parameter in the Geometry pane of the Shape Inspector, curve adjustments are keyframed, regardless of the Record button state. Editing B-Spline Control Points Editing the position of control points in B-Spline shapes is similar to editing Bezier shapes. In fact, the steps for selecting, moving, adding, deleting, and locking control points are almost exactly the same. The main difference in editing both types of shapes lies in how you manipulate and adjust curves. The simplest, and usually fastest, way to manipulate B-Spline curves is to move B-Spline points closer to or farther from one another. When B-Spline points are moved closer to one another, a sharper curve is created. B-Spline points that are farther from one another create shallower curves. Shallow curve Sharper curve (B-Spline points are closer.) Chapter 20 Using Shapes, Masks, and Paint Strokes 1141 Each B-Spline control point tugs on a section of the shape, pulling it toward itself. As a result, you manipulate a shape’s curve by moving its control points in the direction you want to pull the shape. For example, notice how every control point creating the S curve below is offset in the direction of the curve it influences. Note: You can show and hide the B-Spline frame lines that enclose B-Spline control points by choosing View > Overlays > Lines. By default, B-Spline shapes have no corners. Although this is the default behavior, you can adjust the amount of curvature at each B-Spline control point. This allows you to create sharper curves using fewer control points, even creating corners at a single point, if necessary. The easiest way to adjust B-Spline point curvature is by Command-dragging the control point. You can also switch among three preset degrees of curvature. To adjust B-Spline control point curvature Do one of the following: µ Command-drag selected B-Spline control points to make their curves progressively sharper. A handle appears indicating the curvature adjustment you’re making. • Dragging away from the point makes the curve progressively sharper. 1142 Chapter 20 Using Shapes, Masks, and Paint Strokes • Dragging toward the point makes the curve progressively looser. Very smooth B-Spline point Smooth B-Spline point Linear B-Spline point Note: After the handle appears, you can modify the curve without the Command key. Drag the handle away from the point to make the curve sharper. Drag the handle toward the point to make the curve looser. µ After creating handle by Command-dragging a B-Spline point, Command-click the handle to switch between three progressively sharper amounts of curvature. µ Control-click a B-Spline point, then choose Very Smooth, Smooth, or Linear from the shortcut menu. Using a Shape Outline as a Paint Stroke You can convert a shape outline into a paint stroke by modifying the Brush Type in the Inspector. After a shape outline is assigned a different brush type, paint stroke parameters become available. You can modify and animate its brush parameters, as well as apply the Sequence Paint behavior. To convert an existing shape into an editable paint stroke 1 Select an existing shape. 2 In the Shape HUD or Style pane of the Shape Inspector, select the Outline checkbox. Modify any Outline parameter you want. In this example, the outline is widened and colored orange. Default circle shape with Outline checkbox deselected Circle shape with Outline checkbox selected Chapter 20 Using Shapes, Masks, and Paint Strokes 1143 3 If you don’t want the shape filled, deselect the Fill checkbox in the Shape HUD or Style pane of the Shape Inspector. Note: Solid must be chosen from the Brush Type pop-up menu in the Style pane of the Shape Inspector for the shape fill options to remain available. After Fill is deselected, the shape icon in the Layers list becomes a paint stroke icon. Paint stroke icon 4 In the Style pane of the Shape Inspector, choose Airbrush from the Brush Type pop-up menu. After the Brush Type is changed to Airbrush (or Image), the following occurs: • The stroke softens because it is using a soft brush type. A paint stroke is comprised of dabs and the brush type is the source for the dabs. The brush profile can be modified to vary opacity within the brush. You can apply a custom opacity gradient to the brush profile. • The Stroke pane becomes available. Use the Stroke pane to set the Stroke Color mode and Brush Scale parameters, and to adjust various options. • The Advanced pane becomes available. The Advanced pane contains a single group of Dynamics controls that allow the dabs of a paint stroke to be animated like particles. For more information on Dynamics, see Advanced Pane Controls In the Inspector. Note: When a paint stroke is created using the Paint Stroke tool in the toolbar, additional stylus parameters appear in the Advanced pane. 5 Use the controls in the Style, Stroke, and Advanced panes of the Shape Inspector to modify or animate your paint stroke. 1144 Chapter 20 Using Shapes, Masks, and Paint Strokes For a complete description of these parameters, see Style Pane Controls in the Inspector, Stroke Pane Controls in the Inspector, and Advanced Pane Controls In the Inspector. In the example below, the Additive Blend parameter is enabled in the Style pane. Additionally, the Color Over Stroke, Spacing Over Stroke, Width Over Stroke, Brush Scale, and Brush Scale Randomness parameters are modified in the Stroke pane. Adding Shapes from the Library The Shapes category in the Library contains pre-drawn shapes that can be added to a project. After you add a shape from the Library, the shape can be edited. To add a shape to a project from the Library 1 In the Library, select the Shapes category. 2 Do one of the following: • Select a shape, then click Apply in the preview area. • Drag a shape from the Library into the Canvas, Layers list, or Timeline. The shape is added to the project and can be modified. For information on editing shapes, see How to Edit Shapes. Copying Styles Between Shapes After modifying the fill or outline of a shape, you can apply that shape style to another shape in the project. To apply a shape’s style to another shape 1 In the Layers list, drag the stylized shape object onto another shape object and pause, holding down the mouse button. A drop menu appears. 2 Choose Copy Style To Shape. The shape’s fill and outline are copied to the other shape. Chapter 20 Using Shapes, Masks, and Paint Strokes 1145 Note: For more information on saving shape styles to the Library, see Saving Shapes and Shape Styles. Shape Parameters The Shape Inspector appears when you select a shape in the Canvas, Layers list, or Timeline. This Inspector contains the Style, Stroke, Advanced, and Geometry panes. These panes contain parameters that let you further customize the shape. Style Pane Controls in the Inspector The Shape Inspector’s Style pane contains controls to modify the fill and outline of a shape, including changing the brush type for an outline or paint stroke. The parameters are grouped into two main categories of controls: Fill and Outline. Style Pane Parameters The Style pane is available for all shapes and paint strokes. Shape Style: This pop-up menu allows you to apply a preset shape style (from the Shape Styles category in the Library) to the selected shape. In addition to the preset styles, any custom styles you have saved to the Library also appear in this list. Fill: By default, this checkbox is selected for new closed shapes, which are filled with the color specified in the Fill Color controls. The Fill parameters allow you to modify the fill of a shape. • Fill Mode: This pop-up menu sets how a shape is filled. There are two options: • Color: When this option is selected, the Fill Color controls appear and allow you to pick a color to fill the shape. Fill opacity allows you to set the opacity of the fill. 1146 Chapter 20 Using Shapes, Masks, and Paint Strokes • Gradient: When this command is selected, the Gradient editor appears, as well as the Gradient preset pop-up menu. The Gradient preset pop-up menu allows you to apply a preset gradient (from the Gradients category in the Library) to the selected shape. In addition to the preset gradients, any custom gradients you have saved to the Library also appear in this list. Click the disclosure triangle to the left to display the Gradient editor, which you can use to create your own custom color and opacity gradients. For more information on using the gradient editors, see Gradient Controls. The controls for the Gradient editor are identical to the gradient controls for text, with one exception. The text gradient parameters include a dial to control the angle of the gradient. The shape gradient parameters use Start and End point controls, which are available in the Inspector or in the onscreen controls. Gradient preset pop-up menu • Fill Color: These controls, available when Fill Mode is set to color, let you pick a color fill for the shape. For more information on using the color controls, see Color Controls. • Fill Opacity: This slider, available when Fill Mode is set to Color, adjusts the opacity of the fill (independently of the outline, if enabled). • Feather: A slider that feathers (softens) the edges of a shape. Positive feathering values soften the edge of the shape from its edge outward. Negative feathering values soften the edge of a shape inward from the edge. Note: You cannot feather an object when the Outline checkbox is selected. • Falloff: Controls how “steep” the feathering is. Higher values result in feathering that’s pushed in farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. Chapter 20 Using Shapes, Masks, and Paint Strokes 1147 Outline: When this checkbox is selected, the shape outline appears in the Canvas and the outline controls become available. By default, this checkbox is deselected for closed shapes and is selected for open shapes and paint strokes. When you select the Outline checkbox, the Brush Type, Brush Color, Brush Opacity, Width, First and Last Point Offsets, Order, and other controls become available. • Brush Type: This pop-up menu lets you choose a Solid, Airbrush, or Image brush to create the outline. • Solid: The default setting. Creates a solid outline along the shape spline or paint stroke. • Airbrush: Creates an outline made up of editable brush strokes referred to as dabs. You can set the dabs to be close together so the line appears solid, or you can space the dabs further apart. When Brush Type is set to Airbrush, the Stroke and Advanced panes become available in the Shape Inspector. • Image: Allows you to use a layer as a dab source. When Brush Type is set to Image, the Stroke and Advanced panes become available in the Shape Inspector. 1148 Chapter 20 Using Shapes, Masks, and Paint Strokes • Brush Color: Lets you pick a color to use for the outline or paint dabs. These color controls are identical to the shape Fill Color controls (and all color controls throughout Motion). Note: When Stroke Color Mode (in the Stroke pane) is set to Color Over Stroke or Pick From Color Range, Brush Color is not available. • Brush Opacity: Defines the opacity of the entire stroke, regardless of the Brush Type setting. Note: When Stroke Color Mode (in the Stroke pane) is set to Color Over Stroke or Pick From Color Range, the Brush Color and Brush Opacity parameters are unavailable. When Stroke Color Mode (in the Stroke pane) is set to Use Brush Color, you can adjust the opacity, in the Stroke pane, to change over the course of the stroke. For more information on using the Opacity Over Stroke parameter, see Stroke Pane Controls in the Inspector. The Brush Opacity control allows you to define a different opacity value for a shape and its outline. Outline opacity set to 100% Outline opacity set to 50% • Brush Source: When Image is the selected Brush Type, drag a layer into the Brush Source image well for use as the outline’s brush source. You can use images, image sequences, QuickTime movies, text, and shapes as the brush source. When a movie or image sequence is the brush source, additional parameters appear. For more about Movie or image sequence parameters, see Additional Parameters When Brush Source Is a QuickTime Movie or Image Sequence. • Brush Profile: Available when Airbrush is the selected Brush Type, this gradient editor allows you to create varying levels of opacity within the brush. The brush profile uses the same opacity controls as a standard gradient editor. For more information, see Gradient Controls. Chapter 20 Using Shapes, Masks, and Paint Strokes 1149 The default gradient creates a soft airbrush. Modify the Brush Profile opacity gradient to create new brush looks. • Width: A slider that changes the width of a shape’s outline or width of a paint stroke’s dabs. On paint strokes, width adjustments will alter the size of the dab while also maintaining the spacing between each dab. Note: If you used the pressure parameters in the Paint Stroke Tool HUD to create variations in the stroke when the stroke was created, adjusting the Width parameter affects the width of the stroke uniformly. • Preserve Width: When this checkbox is selected, the defined width of the outline/stroke does not change when the shape is scaled. This option is only available when Solid is the selected Brush Type. • Joint: When Solid is the selected Brush Type, this pop-up menu lets you choose how hard corners on a shape’s outline are drawn. There are three options: • Square: All corners are squared off. • Round: All corners are rounded. • Bevel: All corners are cut at an angle. • Start Cap: Pop-up menu that lets you choose the shape of an open outline’s start cap (the shape of the edge of an outline). This option is only available when Solid is the selected Brush Type. There are five options: • None: The stroke ends at the control point. • Square: The cap is squared off. • Round: The cap is rounded. • Bevel: The cap is cut at an angle. 1150 Chapter 20 Using Shapes, Masks, and Paint Strokes • Arrow: The cap is a customizable arrow. When Arrow is selected from the Start Cap or End Cap pop-up menus, the Arrow Length and Arrow Width sliders appear. • End Cap: Pop-up menus that let you choose the shape of an outline’s end cap. This option is only available when Solid is the selected Brush Type. There are five options: • None: The stroke ends at the control point. • Square: The cap is squared off. • Round: The cap is rounded. • Bevel: The cap is cut at an angle. • Arrow: The cap is a customizable arrow. When Arrow is selected from the Start Cap or End Cap pop-up menus, the Arrow Length and Arrow Width sliders appear. • Spacing: Available for the Airbrush and Image brush types, this parameter defines the space between dabs. A lower number creates a more solid line, and a higher number creates a greater distance between dabs. • Additive Blend: By default, dabs are composited together using the Normal blend mode. Select this checkbox to composite all overlapping dabs together using the Additive blend mode. This blend mode occurs in addition to whichever compositing method is already in use. This checkbox is only available when Brush Type is set to Airbrush or Image. • Reverse Stacking: Available when Brush Type is set to Airbrush or Image, this parameter inverts the order in which the dabs are stacked. To see the effect of this parameter, dabs must be overlapping. • First Point Offset: This parameter allows you to offset and animate the start point of the outline. This is very useful for effects such as drawing a line across a map over time. You can also use the Shape Write On behaviors to draw a stroke or outline over time. For more information, see Write On. • Last Point Offset: This parameter allows you to offset and animate the end point of the outline. Chapter 20 Using Shapes, Masks, and Paint Strokes 1151 • Order: A pop-up menu lets you choose whether an outline is drawn over or under the shape fill color or gradient. The effect is more apparent with thicker outline widths. • Over Fill: Outlines appear on top of the selected fill of the shape. Over Fill • Under FIll: Outlines are obscured beneath the selected fill of the shape. Under Fill Additional Parameters When Brush Source Is a QuickTime Movie or Image Sequence A collection of additional settings appear when the Brush Source is set to a multi-frame object such as a QuickTime movie or Image sequence. Play Frames: A checkbox that controls playback. If the checkbox is selected, it loops the playback of the animation or movie clip. If it’s deselected, the paint dabs use the still frame specified by the Random Start Frame parameter or the Source Start Frame parameter. Random Start Frame: A checkbox that introduces variation to image brush strokes using multi-frame source objects. If the checkbox is selected, each dab will pull from a random frame in the source. The dab will start animating from this random frame or remain still, depending on whether the Play Frames checkbox is selected or deselected. This pattern of randomness can be adjusted by using the Random Seed button under the Stroke pane. 1152 Chapter 20 Using Shapes, Masks, and Paint Strokes Source Start Frame: Click the Source Start Frame disclosure triangle to display a mini-curve editor that allows you to define the frame where playback of the source clip begins in the paint dabs. The Source Start Frame default keyframe value is 0. You can change the start frame for all dabs, or you can create a curve so start frames vary over the length of the stroke (different dabs use different start frames). For example, if the first Source Start Frame value is 50, each dab begins playback at frame 50. If you create an animation curve that begins at 50 and ends at 250, each dab begins clip playback at a progressively later frame. The Play Frames checkbox must be selected for playback to occur. If Play Frames is deselected, you can display different still frames over the length of the stroke. This parameter only appears if Random Start Frame is deselected. Note: For information on using the mini-curve editor, see Mini-Curve Editor. When you click the Source Start Frame disclosure triangle, the Stroke Length and Source Start Frame parameters become available. • Source Start Frame Over Stoke: Use the sliders or enter a number into the value field to change the value of the selected keyframe in the mini-curve editor. • Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in start frame value (keyframes) over the length of the stroke. Use the sliders or enter a number into the value field to change the value of the selected keyframe. Hold Frames: Sets the number of times each frame of the source movie is repeated during playback. The larger the Hold Frames value, the slower your playback. Hold Frames Randomness: Varies the number of frames to “hold.” Chapter 20 Using Shapes, Masks, and Paint Strokes 1153 Stroke Pane Controls in the Inspector After you create an airbrush or image paint stroke using the Paint Stroke tool, a set of paint stroke controls becomes available, combining controls similar to those of a particle system or replicator. Use these controls to set the Stroke Color Mode and Brush Scale parameters, and to adjust the Opacity, Spacing, Width, and Angle Over Stroke parameters. Stroke Pane Parameters The Stroke pane becomes available when Airbrush or Image is selected from the Brush Type pop-up menu in the Style pane. Stroke Color Mode: Use this pop-up menu to specify how the color is applied to the stroke over its length. There are three options: • Use Brush Color: Uses the color of the brush as defined by the Brush Color parameter in the Style pane. The stroke is a solid color over its length. When you choose Use Brush Color from the Stroke Color Mode pop-up menu, the Opacity Over Stroke control becomes available. • Color Over Stroke: Dabs are tinted based on their position over the length of the paint stroke. When you choose this option, the Color Over Stroke control becomes available. • Pick From Color Range: Dabs are tinted at random, with the range of possible colors defined by a gradient editor. A point on the gradient is randomly chosen, so the relative sizes of each color region determine the frequency of the color being used. 1154 Chapter 20 Using Shapes, Masks, and Paint Strokes Opacity Over Stroke: An opacity control that appears when Stroke Color Mode is set to Use Brush Color. Use it to change the opacity of dabs based on their location on the stroke. This gradient control is limited to grayscale values, which are used to represent varying levels of transparency. White represents solid dabs, progressively darker levels of gray represent decreasing opacity, and black represents complete transparency. A simple white-to-black gradient represents a stroke that is solid at its start, but fades out gradually over its length until finally vanishing at the end. For information on using gradient editors, see Gradient Controls. Gradient preset pop-up menu Use the gradient preset pop-up menu to load a custom or preset opacity gradient into the gradient editor. Note: None of the default gradients have opacity gradients. If a color gradient preset is selected, it has no effect on the opacity gradient. Color Over Stroke: A gradient editor defining the range of color of the stroke, beginning with the leftmost color in the gradient, and progressing through the range of colors until reaching the rightmost color at the end of the stroke. Gradual color changes do not appear in each dab, only across the stroke as a whole. An opacity bar appears at the top of the gradient editor. For information on using gradient editors, see Gradient Controls. Chapter 20 Using Shapes, Masks, and Paint Strokes 1155 Color Range: A gradient editor that appears when the Stroke Color Mode is set to Pick From Color Range. Use it to define a range of colors used to randomly tint the stroke’s paint dabs. The direction of the gradient colors is not relevant, only the number of colors that appear in the gradient. The Color Range parameter has the same controls as the Color Over Stroke parameter. For information on using gradient editors, see Gradient Controls. Color Repetitions: When you choose Color Over Stroke from the Stroke Color Mode pop-up menu, the Color Repetitions parameter becomes available. Drag this slider to increase the number of times the gradient is repeated over the stroke. Spacing Over Stroke: This mini-curve editor allows you to customize the spacing of the dabs over the length of the stroke. You can create a curve that gradually increases the dabs’ spacing over the length of the stroke, create a curve that varies the dabs’ spacing over the length of the stroke, and so on. Select or add a keyframe in the graph to make changes to the Spacing Over Stroke and Stroke Length parameters. In the following illustrations, the default Spacing Over Stroke value of 100% in the mini-curve editor creates an even distribution of the dabs—based on the value set in the Spacing parameter in the Style pane. For more information on using the mini-curve editor, see Mini-Curve Editor. 1156 Chapter 20 Using Shapes, Masks, and Paint Strokes In the following illustrations, the Spacing Over Stroke curve in the mini-curve editor is adjusted so a greater value is used at the start of the stroke, and 100% is used at the end of the stroke. The dabs at the beginning of the stroke are spaced more widely apart and get closer at the end of the stroke. Two controls let you fine-tune the curve in the graph: • Spacing Over Stroke: Use the sliders or enter a number in the value field to change the value of the selected keyframe. • Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in spacing value (keyframes) over the length of the stroke. Use the sliders or enter a number in the value field to change the value of the selected keyframe. Note: For information on using the mini-curve editor, see Mini-Curve Editor. Fixed Brush Dabs: When animating brush strokes using behaviors or keyframes, selecting the Fixed Brush Dabs checkbox keeps the number and spacing of the dabs constant regardless of the changes in the stroke’s shape over time. The effect of this parameter is not visible when editing a paint stroke on a single frame. Anchor Dabs To: This pop-up menu, available when the Fixed Brush Dabs checkbox is deselected, defines how dabs are added to or removed from a paint stroke when the length of the paint stroke is modified. When the Fixed Brush Dabs checkbox is selected, dabs are anchored to the start and end of the paint stroke. There are two options: • Start: Adds dabs to or removes dabs from the start point of a paint stroke when the length of the paint stroke is modified. The first dab on the stroke remains fixed. Chapter 20 Using Shapes, Masks, and Paint Strokes 1157 • Start and End: Adds dabs to or removes dabs from the start and end points of a paint stroke when the length of the paint stroke is modified. The first and last dabs on the stroke remain fixed. Note: Changing a shape’s control points or adjusting the Width or Spacing parameters (in the Style pane) or Spacing Over Stroke and Width Over Stroke parameters (in the Stroke pane) affect the dab spacing because larger dabs can be spaced further apart. Width Over Stroke: This mini-curve editor allows you to customize the width of the dabs over the length of the stroke. You can create a curve that gradually increases the dabs’ width over the length of the stroke, create a curve that varies the dabs’ width over the length of the stroke, and so on. Select or add a keyframe in the graph to make changes to the Width Over Stroke and Stroke Length parameters. The start value for the dab width is based on the value set in the Width parameter in the Style pane. For more information on using the mini-curve editor, see Mini-Curve Editor. Two controls let you fine-tune the curve in the graph: • Width Over Stroke: Use the sliders or enter a number in the value field to change the value of the selected keyframe. • Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in width value (keyframes) over the length of the stroke. Use the sliders or enter a number in the value field to change the value of the selected keyframe. The Width Over Stroke parameter can be adjusted on the selected paint stroke in the Canvas. For more information, see Using the Width Over Stroke Onscreen Controls. Brush Scale: A slider and value field that allow you to change the size of the brush (the source of the dabs). Click the disclosure triangle to adjust the X and Y scale values independently. By default, Scale is set to 100%—the size of the dabs is equal to the size of the source brush. Unlike the width parameter in the Style pane, brush scale adjustments only affect the size of the dabs and don’t preserve the spacing between dabs. 1158 Chapter 20 Using Shapes, Masks, and Paint Strokes Brush Scale Randomness: Defines an amount of variance in the scale of the stroke’s brush. A value of 0 results in no variance—all dabs in the stroke are the same size. A value greater than 0 introduces a variance. The scale for an individual dab is defined by the Scale parameter, plus or minus a random value falling within the Brush Scale, Width Over Stroke, and Width (in the Style pane) parameters. Click the disclosure triangle to adjust the X and Y values independently. Align Brush Angle: When this checkbox is selected, the stroke dabs rotate to match the shape on which they are positioned. Brush Angle: Specifies (in degrees) the rotation of the stroke dabs. Using the default dial or value slider modifies the Z angle. When the Local 3D checkbox is selected, additional Brush Angle Randomness controls become available. Click the disclosure triangle to expose X, Y, and Z rotation dials and the Animate pop-up menu. • Animate: Only available when the Local 3D checkbox is selected, this pop-up menu allows you to change the interpolation for animated 3D rotation channels. Click the Brush Angle disclosure triangle to display the Animate parameter. By default, Animate is set to Use Rotation. • Use Rotation: The default interpolation method. Pattern elements rotate from their start rotation to their final rotation. Depending on the animation, the elements may twist this way and that before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z angle parameters are animated from 0 degrees to 180 degrees in a project, the elements rotate on all axes before reaching their final orientation. • Use Orientation: This alternate interpolation method provides smoother interpolation but does not allow multiple revolutions. It interpolates between the pattern elements’ start orientation (first keyframe) to their end orientation (second keyframe). Chapter 20 Using Shapes, Masks, and Paint Strokes 1159 Angle Over Stroke: This mini-curve editor allows you to customize the Z rotation (in degrees) of the dabs over the length of the stroke. You can create a curve that gradually increases the dabs’ angle over the length of the stroke, a curve that varies the dabs’ angle over the length of the stroke, and so on. Select or add a keyframe in the graph to make changes using the Angle Over Stroke and Stroke Length controls. • Angle Over Stroke: Use the dial or value slider to change the value of the selected keyframe. • Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in angle value (keyframes) over the length of the stroke. Use the sliders or enter a number in the value field to change the value of the selected keyframe. Brush Angle Randomness: Defines an amount of variance in the rotation of the stroke dabs. A value of 0 results in no variance—all dabs have the same rotational value. A value greater than 0 introduces a variance. The angle for an individual dab is defined by the Brush Angle and Angle Over Stroke parameters, plus or minus a random value falling within the Brush Angle Randomness. Using the default dial or value slider modifies the Z angle. To individually modify the rotation of the dabs in X, Y, and Z space, or to access the Animate parameter, click the disclosure triangle when the Local 3D checkbox is selected. • Animate: Only available when the Local 3D checkbox is selected, this pop-up menu allows you to change the interpolation for animated 3D rotation channels. Click the Brush Angle Randomness disclosure triangle to display the Animate parameter. By default, Animate is set to Use Rotation. • Use Rotation: The default interpolation method. Pattern elements rotate from their start rotation to their final rotation. Depending on the animation, the elements may twist this way and that before reaching their final orientation (the last keyframed value). For example, if the X, Y, and Z Angle parameters are animated from 0 degrees to 180 degrees in a project, the elements rotate on all axes before reaching their final orientation. • Use Orientation: This alternate interpolation method provides smoother interpolation but does not allow multiple revolutions. It interpolates between the pattern elements’ start orientation (first keyframe) to their end orientation (second keyframe). Local 3D: This checkbox allows you to take advantage of the Motion 3D workspace. When the Local 3D checkbox is selected, the following become possible: • When the Face Camera checkbox is selected, paint dabs actively face the camera when the camera or stroke is rotated and/or animated. 1160 Chapter 20 Using Shapes, Masks, and Paint Strokes • When the Dab Depth Ordered checkbox is deselected, dab ordering remains consistent when the paint stroke (or the camera) is rotated in X or Y space. When this checkbox is selected, the dabs jump in front of each other each time the stroke rotates 180 degrees. In other words, this checkbox draws the dabs in the stroke according to each dab’s actual 3D position in the project. Dabs that are closer to the camera appear closer; dabs that are farther from the camera appear more distant. • When the Dynamics checkbox is selected in the Advanced pane, a paint stroke acts similarly to an emitter—the dabs become particles. When the Local 3D checkbox is selected, the dabs are animated in 3D space. When the Local 3D checkbox is deselected, the particles are animated in X and Y space only. For more information on Dynamics, see Advanced Pane Controls In the Inspector. • When the Dynamics checkbox is selected in the Advanced pane, dabs can be pulled out of their plane when some Simulation behaviors are applied. For example, if a paint stroke has an applied Attracted To behavior (with the Affect Subobjects checkbox selected), and the target layer is in a different location in Z space, the dabs are pulled into Z space and move toward the target layer. The paint stroke must be a member of a 3D group to be pulled out of the X and Y planes by a behavior. Use the following guidelines when working in 3D with paint strokes: • Even in a 2D project, a paint stroke’s general properties can be adjusted in 3D space. For example, you can modify the Z parameter using the Position, Scale, Rotation, and Anchor Point controls in the Properties Inspector. • Paint strokes do not receive reflections (controlled in the Properties Inspector) unless the Local 3D checkbox is deselected. • Paint strokes do not cast shadows (controlled in the Properties Inspector) unless the Local 3D checkbox is deselected. • Lighting does not effect paint strokes unless the Local 3D checkbox is deselected. Important: Although the Local 3D checkbox is selected, paint strokes do not intersect with the “global” 3D world. This means that paint strokes can exist in 3D space, but do not intersect with objects that exist inside their own group, or objects in other groups. A 3D paint stroke is composited with the rest of the objects in the project based on layer order. Face Camera: Available only when the Local 3D checkbox is selected, the stroke dabs actively face the camera if the camera is rotated or if the paint stroke is rotated and/or animated when this checkbox is selected. When the Face Camera checkbox is deselected, the elements face forward in the replicator pattern and appear flat (unless the source layer or paint dabs are rotated in 3D space). Chapter 20 Using Shapes, Masks, and Paint Strokes 1161 Because paint source dabs are 2D (flat) objects, the pattern elements are not visible when you use the orthogonal camera views, such as Left, Right, and Top (unless the source layer or dabs are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to the elements. For more information on using cameras, see Cameras. Dab Depth Ordered: Available only when the Local 3D checkbox is selected, paint dab ordering remains consistent when the paint stroke is rotated in X or Y space when this checkbox is selected. When not selected, the dabs jump in front of each other each time the stroke rotates 180 degrees. Jitter: This slider and value field allow you to create a little chaos in your paint dabs. The higher the value, the more dispersed the dabs. Click the disclosure triangle to display the individual X and Y controls. Jitter can be animated so the dabs behave like particles. • Jitter: Moves the dabs both parallel and perpendicular to the stroke’s curves at its control points. • X: Moves the dabs parallel to the stroke’s curves at its control points. • Y: Moves the dabs perpendicular to the stroke’s curves at its control points. Jitter Over Stroke: This mini-curve editor allows you to customize the scatter of the dabs over the length of the stroke. You can create a curve that gradually increases the dabs’ jitter over the length of the stroke, a curve that varies the dabs’ jitter over the length of the stroke, and so on. Select or add a keyframe in the graph to make changes using the Jitter Over Stroke and Stroke Length controls. • Jitter Over Stroke: This parameter is divided into two channels. Click the disclosure triangle to display the individual X and Y controls. Use the X parameter to adjust keyframes that define the amount of dab movement parallel to the stroke’s curve at specific points along the stroke (red curve). Use the Y parameter to adjust keyframes that define the amount of dab movement perpendicular to the stroke’s curve at specific points along the stroke (green curve). Use the Jitter Over Stroke parameter to adjust the amount of dab movement in both directions at specific points along the curve (adjusts red and green curve simultaneously). 1162 Chapter 20 Using Shapes, Masks, and Paint Strokes • Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in jitter value (keyframes) over the length of the stroke. Use the sliders or enter a number in the value field to change the value of the selected keyframe. For more information on using the mini-curve editor, see Mini-Curve Editor. Random Seed: The variation of the Jitter, Brush Angle Randomness, and Brush Scale Randomness parameters (in the Stroke pane) and the Life, Speed, and Spin Randomness parameters (in the Advanced pane) are based on the number shown here. If you don’t like the current random distribution of the dabs, you can change the seed number by typing a new number or clicking Generate. The Jitter value must be 1 or more for this parameter to have any effect. Using the Width Over Stroke Onscreen Controls The Width Over Stroke control can be manipulated using the mini-curve editor, or you can adjust its keyframe values in the Canvas. An editable control appears at each keyframe in the stroke. To use the onscreen Width Over Stroke controls 1 In the Canvas, Control-click the paint stroke, then choose Stroke from the shortcut menu. Small control points (+) appear at each keyframe along the red spline. 2 Click the control point that represents the keyframe you want to adjust. Control handles appear on either side of the control point. Chapter 20 Using Shapes, Masks, and Paint Strokes 1163 3 To increase the width of the dabs, drag away from the point; to decrease the width of the dabs, drag toward the point. 4 To change the position of a width keyframe, drag the control point left or right to move it along the length of the stroke. (Keyframes can be dragged over one another.) The mini-curve editor is updated as you make your onscreen adjustments. 5 To add width keyframes, Option-click or double-click the red spline. 6 To delete width keyframes, select the keyframe and press Delete. Advanced Pane Controls In the Inspector The Advanced pane of the Shape Inspector contains controls that allow the dabs of a paint stroke to be animated like particles. Unlike particles, dabs are only “born” one time; but they can age and die like particles. Dynamic dabs share several controls with particles, such as Emission Angle, Life, Speed, and Spin. When the Dynamics checkbox is deselected, dabs are immortal. When you select a shape created with the Paint Stroke tool, Pen Pressure and Pen Speed controls appear in the Advanced pane. Note: All Dynamics controls can be animated using keyframes or by applying Parameter behaviors to the individual parameters. Advanced Pane Parameters The Advanced pane becomes available when Airbrush or Image is selected from the Brush Type pop-up menu in the Style pane. Dynamics: When this checkbox is selected, the dabs of a paint stroke become particles. Note: When a Simulation behavior is applied to a paint stroke, the Affect Subobjects parameter only appears in the behavior if Dynamics is selected for the paint stroke. Click the disclosure triangle to reveal the following additional Dynamics controls: 1164 Chapter 20 Using Shapes, Masks, and Paint Strokes Emission Angle: A dial and value slider that set the direction in which the paint dabs travel. This parameter works in conjunction with the Emission Range parameter. Emission Range: A dial and value slider that restrict the area in which the dabs travel, in the direction of the Emission Angle. Setting the Emission Range parameter to 0 degrees keeps dabs perpendicular to the paint stroke. Life: A slider that defines the duration of each dab, in seconds. This specifies how long each dab lasts before disappearing—similar to how sparks disappear after flying away from a sparkler. Life Randomness: A slider and value field that define an amount of variance in the life of the paint dabs. A value of 0 results in no variance—all dabs from the selected stroke share the same life span. A value greater than 0 introduces a variance defined by the Life parameter, plus or minus a random value falling within the Life Randomness value. Speed: A slider and value field that defines initial speed, determining how quickly each dab flies away from the stroke. Speed Randomness: A slider and value field that define an amount of variance in the speed of the paint dabs. A value of 0 results in no variance—all dabs from the selected stroke move with the same speed. A value greater than 0 introduces a variance defined by the Speed parameter, plus or minus a predetermined random value falling within the Speed Randomness value. Spin: A dial and value slider that animate the dabs of a paint stroke by initially spinning each dab around its center. Adjustments to this control are in degrees per second. Spin Randomness: A dial and value slider that define an amount of variance in the spin of the paint dabs. A value of 0 results in no variance—all dabs from the selected stroke spin at the same rate. A value greater than 0 introduces a variance defined by the Spin parameter, plus or minus a random value falling within the Spin Randomness value. Pen Pressure: Allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the pressure of your stylus on the tablet when the stroke was created. This parameter appears when you do any of the following: • Create a paint stroke using the Paint Stroke tool in the toolbar • Apply a shape style from the Shape Style pop-up menu to an existing paint stroke Note: Only strokes drawn using a stylus and tablet will have recorded pressure variations. You can select how the pressure of the stylus affects the stroke in the Paint Tool HUD before the stroke is created or afterwards by activating this parameter in the Advanced pane. These controls are identical to the Apply Pen Pressure (Shape behavior) parameters. For a description of the Pen Pressure parameters, see Shape Behaviors. The inspector parameters can be used in combination with these shape behaviors to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same pressure data. Chapter 20 Using Shapes, Masks, and Paint Strokes 1165 Pen Speed: Allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the speed of your stylus on the tablet or the speed of your mouse when the stroke was created. This parameter only appears when you do any of the following: • Create a paint stroke using the Paint Stroke tool in the toolbar • Apply a shape style from the Shape Style pop-up menu to an existing paint stroke These controls are identical to the Apply Pen Speed (Shape behavior) parameters. For a description of the Pen Speed parameters, see Shape Behaviors. The inspector parameters can be used in combination with these shape behaviors to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same pressure data. Geometry Pane Controls in the Inspector The Shape Inspector’s Geometry pane controls allow you to change the shape type, to close or open a shape, and to individually adjust the position of a shape’s control points using value sliders. Geometry Pane Parameters The Geometry pane controls are available for all shapes regardless of what is selected in the Brush Type pop-up menu in the Style pane. You can change a shape’s type at any time. Changing a shape’s type changes its form. For example, a single set of control points produces the following three shapes, depending on the selected Shape Type. Linear shape B-Spline shape Bezier shape Shape Type: Use this pop-up menu to change the type of control points used to define the shape. For example, if you originally created a Bezier shape, you can choose B-Spline from this menu to change each Bezier control point into a B-Spline control point. Changing the shape type does not move the control points, although the shape is changed, sometimes dramatically. There are three options: • Linear: All control points are joined by hard angles, and the resulting shape is a polygon. The control points of a Linear shape lie directly on its edge. • Bezier: Control points can be a mix of Bezier curves and hard angles, creating any sort of shape. The control points of a Bezier shape lie directly on its edge. 1166 Chapter 20 Using Shapes, Masks, and Paint Strokes • B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie inside, outside, or on the edge of the shape, and are connected by the B-Spline frame. Note: To show or hide the display of the B-Spline frame, choose View > Overlays > Lines. Closed: If you select an open shape, this checkbox is deselected. Turning this checkbox on connects the first and last points of an open shape. If you select a closed shape, this checkbox is selected. Turning this checkbox off disconnects the first and last points, converting the object into an open shape. Roundness: Controls the roundness of the corners of a shape. This facilitates the creation of round rectangles, as well as generally smoothing the edges of any shape. Preserve Scale: This checkbox controls whether the Roundness setting is absolute, or relative to the overall shape size. When this parameter is enabled, the roundness will remain at the same approximate percentage of curvature as the object is scaled. When it is disabled, the curvature will vary as the overall shape changes size. Control Points: Click the disclosure triangle to display the position parameters for the shape control points. Use the value sliders to adjust the position of a control point. The Control Points parameter also contains an Animation menu, which allows you to add keyframes, reset the shape’s animation, display the animation curve in the Keyframe Editor, and so on. For more information on using the Animation menu, see Animation Menu. Shape Controls in the HUD After you create and selecte a shape or paint stroke, the Shape HUD appears. Chapter 20 Using Shapes, Masks, and Paint Strokes 1167 Note: As with all other layers, you can adjust the overall opacity of a shape (with its outline) in the Properties Inspector. Shape HUD Parameters A shape or completed paint stroke must be selected to display the Shape HUD. If the HUD does not appear, press F7 or D. Additional parameters appear in the HUD along with standard Opacity, Blend Mode, and Drop Shadow controls. For more information on these standard parameters, see Parameters in the Properties Inspector. Fill: Select this checkbox to enable the shape fill. When selected, you can choose the fill color using the adjacent color controls. Outline: Select this checkbox to turn on an outline for the shape. When Outline is on, you can select the outline color in the adjacent color well. Width: Sets the width of the shape’s outline in pixels. Feather: Drag this slider to feather (soften) the edges of a shape. Positive feathering values soften the edge of the shape from its edge outward. Negative feathering values soften the edge of a shape inward. Note: You cannot feather a shape when the Outline checkbox is selected. Roundness: Controls the roundness of the corners of a shape. This facilitates the creation of round rectangles, as well as generally smoothing the edges of any shape. Shape Style: Choose an option from this pop-up menu to apply a preset shape style (from the Library) to the selected shape. Creating Illustrations Using Multiple Shapes You can use groups of shapes to create more detailed shapes and even complete illustrations. For example, the following illustration was created using nested groups of Bezier shapes. 1168 Chapter 20 Using Shapes, Masks, and Paint Strokes It’s not necessary to create every part of an illustration with a single shape. Most of the time it is easier, and sometimes essential, to use multiple overlapping shapes to create different parts of an illustration. For example, the face in the illustration above uses a gradient, but the eyes are a different solid color. This is only possible using two shapes. Organizing Objects Used in Multi-Shape Illustrations You can arrange related layers in a project into groups. When you create illustrations using multiple shapes, it is helpful to take advantage of the organizational tools in Motion by grouping shape layers together. In the example above, the objects that make up the illustration are grouped by category: The shapes that comprise the face are contained in the “face” group, the shapes that form the right eye are contained in the “right eye” group, and so on. Each group can in turn be nested inside a larger enveloping group that can be used to transform or animate the entire illustration. In each group, you can use the Bring and Send commands in the Object menu to reorder objects, controlling which layers are in front of others. By nesting layers that belong together in the same group, you gain the ability to control the ordering of each shape group relative to one another. For example, spiky locks of hair should cascade over anime eyes, and not the other way around. For more information on controlling group and layer hierarchies, see Reorganizing in the Layers List. For more information on using the Bring and Send commands, see Arrangement Commands in the Object Menu. Chapter 20 Using Shapes, Masks, and Paint Strokes 1169 Locking Layers and Shapes While Editing Illustrations You can lock layers and shapes that are behind the shapes you’re drawing and editing in the foreground to avoid accidentally selecting and modifying the wrong one. Layers and shapes can be locked and unlocked. To lock a layer or shape, use the lock icons in the Layers list or Timeline. Using Object Alignment While arranging groups of shapes to create more complex illustrations, you can use the Alignment commands in the Object menu. For more information on using object alignment, see Using Object Alignment Commands. Creating Holes and Transparency in Shapes There are several ways you can create holes and transparency in shapes. You can use the Opacity, Blend Mode, and Preserve Opacity parameters in the Properties Inspector to modify a shape’s overall transparency. Shapes with multiple blend modes For more information on using object blending parameters, see Blend Modes. 1170 Chapter 20 Using Shapes, Masks, and Paint Strokes You can use masks to punch holes inside shapes using the mask drawing tools. You can also apply image masks to a shape, which allow you to use any object to define transparency. For more information on using masks and image masks, see Using Masks to Create Transparency. Original shape Shape with mask set to Subtract Applying Filters to Shapes You can apply filters to shapes, like any other layer. When you apply a filter to a shape, the shape remains editable, even though the filter changes it from a vector-based object into a bitmapped object to perform the operation. Original shape Shape with filter applied You can apply filters to individual shapes or to a group that contains a number of shapes. You can use filters to stylize shapes far beyond the options available in the Shape Inspector. More importantly, you can use filters in conjunction with the Shape Inspector parameters to customize a shape’s look, while preserving the ability to re-edit the shape later. Important: After you apply a filter to a shape, you can no longer smoothly increase the size of that shape using the object’s transform controls. This is because filters change shapes from vector objects to bitmapped objects. As a result, they scale like other bitmapped objects, which display artifacts if they’re enlarged too much. Chapter 20 Using Shapes, Masks, and Paint Strokes 1171 For more information on using filters, see Using Filters. Animating Shapes You can animate shapes using both behaviors and keyframes. In addition to using Basic Motion, Simulation, and Parameter behaviors, shapes have their own special category of Shape behaviors. Shape behaviors allow you to oscillate, randomize, or wriggle the individual control points of shapes, to “write on” a shape outline over time, or to apply tracking data to the control points of a shape. You can also modify a paint stroke created with the Paint Stroke tool (in the toolbar) based on how it was drawn with the stylus. For example, you can apply the Apply Pen Pressure behavior to a paint stroke in your project and map the pressure used in drawing the stroke to opacity. The resulting stroke appears more opaque in the segments where you pressed hardest when drawing that stroke. Basic Motion and Simulation behaviors animate multiple parameters of a shape, such as Position, Rotation, and Scale. Applying behaviors to shapes works the same as with any layer in Motion, and keyframed animation of any of these parameters is stored in the Keyframe Editor. For more information on using Basic Motion, Parameter, and Simulation behaviors, see Using Behaviors. Shape Behaviors Shape behaviors are specifically designed to be applied to shapes created in Motion. After drawing a stroke or other shape, apply a Shape behavior to wriggle, oscillate, or randomize a shape’s control points or to map pen pressure to various paint stroke characteristics. Apply Pen Pressure This behavior is designed to be applied to a paint stroke created using a stylus and graphics tablet. After you create a stroke, this behavior allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the pressure of your stylus on the tablet when the stroke was created. Note: These parameters are identical to the Pen Pressure parameters in the Advanced pane of the inspector. You can choose to use the Advanced pane parameters or this shape behavior to apply the pressure data to the paint stroke. You can use a combination of Pen Pressure parameters in the Advanced pane and Apply Pen Pressure shape behaviors to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same pressure data. 1172 Chapter 20 Using Shapes, Masks, and Paint Strokes Parameters in the Inspector Apply To: Use this pop-up menu to select how your paint stroke is affected by pen pressure. There are five options: • Width: Pen pressure affects the width of the stroke. The harder the pressure, the wider the stroke. • Opacity: Pen pressure affects the opacity of the stroke. The harder the pressure, the more opaque the stroke. • Spacing: The harder the pressure, the greater the spacing between stroke dabs. • Angle: The harder the pressure, the greater the angle of the stroke dabs. • Jitter: The harder the pressure, the larger the amount of jitter on the stroke. Jitter randomizes the position of the paint dabs so they appear more like particles. Min Pressure: Adjusts the minimum threshold of pressure sensitivity. Pressure values below the minimum value are remapped to 0. For Opacity and Width, those remapped values do not appear. For Spacing, Angle, and Jitter, the values are not modified. If the Min and Max pressure are plotted on a graph, Min Pressure represents the minimum value, or 0. The area of the graph between Min and Max is remapped to the output values. Max Pressure: Adjusts the maximum threshold of pressure sensitivity. Pressure values above the maximum value are remapped to 1. For Opacity, Width, Spacing, Angle, and Jitter, those values will have the greatest effect. If the Min and Max pressures are plotted on a graph, Max Pressure represents the maximum value, or 1. The area of the graph between Min and Max is remapped to the output values. Scale: Determines the magnitude of the effect. Defines the output range for the dabs based on the mapped values between minimum (0) and maximum (1) pressure, multiplied by the value defined in the slider (or value field). This amount is then applied to the parameter (width, opacity, and so on) by multiplying (for width, opacity, spacing, and jitter) or adding (for angle). This control is independent of the Scale parameter in the Stroke pane. Invert: This checkbox inverts the attributes of the stroke created by the behavior. For example, if pen pressure is set to affect the opacity of the stroke, transparent areas of the stroke become more opaque and opaque areas become more transparent when the checkbox is selected. HUD Controls The parameters in the HUD are identical to the parameters in the Inspector. Apply Pen Speed When using a stylus or mouse to create paint strokes, this behavior allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the speed of your pen strokes. Chapter 20 Using Shapes, Masks, and Paint Strokes 1173 Note: A paint stroke created by using a mouse can be affected by the Apply Pen Speed behavior. The parameters in the HUD are identical to the parameters in the Inspector. Note: In the Paint Stroke Tool HUD, you can select how the speed of the stylus affects the stroke before the stroke is created. Applying the Pen Speed behavior allows you to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same pressure data. The Pen Speed parameter also appears in the Advanced pane of the Shape Inspector. Parameters in the Inspector Apply To: Use this pop-up menu to select how your paint stroke is affected by pen speed. There are five options: • Width: The quicker you move the pen, the more narrow the stroke; the slower you move the pen, the wider the stroke. • Opacity: Pen speed affects the opacity of the stroke. The faster you move the pen, the less opaque the stroke. • Spacing: The faster you move the pen, the greater the spacing between stroke dabs. • Angle: The faster the movement of the pen, the greater the angle of the stroke dabs. • Jitter: The faster the movement of the pen, the larger the amount of jitter on the stroke. Jitter randomizes the position of the paint dabs so they appear more like particles. Min Speed: Adjusts the minimum threshold of speed sensitivity. Speed values below the minimum value are remapped to 0. For Opacity and Width, those values do not appear. For Spacing, Angle, and Jitter, the values are not modified. If the Min and Max speeds are plotted on a graph, Min Speed represents the minimum value, or 0. The area of the graph between Min and Max is remapped to the output values. Max Speed: Adjusts the maximum threshold of speed sensitivity. Speed values above the maximum value are remapped to 1. For Opacity, Width, Spacing, Angle, and Jitter, those values will have the greatest effect. If the Min and Max speeds are plotted on a graph, Max Speed represents the maximum value, or 1. The area of the graph between Min and Max is remapped to the output values. Scale: Determines the magnitude of the effect. Defines the output range for the dabs based on the mapped values between minimum (0) and maximum (1) speed, multiplied by the value defined in the slider (or value field). This amount is then applied to the channel (width, opacity, and so on) by multiplying (for width, opacity, spacing, and jitter) or adding (for angle). This control is independent of the Scale parameter in the Stroke pane. Invert: This checkbox inverts the attributes of the stroke created by the behavior. For example, if pen speed is set to affect the width of the stroke, thin areas of the stroke become wide and wide areas become thin when the checkbox is selected. 1174 Chapter 20 Using Shapes, Masks, and Paint Strokes HUD Controls The parameters in the HUD are identical to the parameters in the Inspector. Apply Pen Tilt When you use a stylus to create paint strokes using the paint stroke tool, this behavior allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the tilt of the pen while creating strokes. Note: You can use a combination of Apply Pen Tilt shape behaviors to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same tilt data. Parameters in the Inspector Apply To: Use this pop-up menu to select how your paint stroke is affected by the tilt of your pen as you draw. There are five options: • Width: The tilt of the stylus affects the width of the stroke. The greater the tilt, the wider the stroke. • Opacity: The tilt of the stylus affects the opacity of the stroke. The greater the tilt, the more opaque the stroke. • Spacing: The greater the tilt of the stylus, the greater the spacing between stroke dabs. • Angle: The greater the tilt of the stylus, the larger the value of the angle of the stroke. • Jitter: The greater the tilt of the stylus, the larger the amount of jitter on the stroke. Jitter randomizes the position of the paint dabs so they appear more like particles. Calculate Tilt: The pen tilt is measured on two axes: X and Y. X represents the stylus tilting to the right and left (toward the right or left side of the tablet); Y represents the stylus tilting up and down (toward the top or bottom of the tablet). Use this pop-up menu to select how the tilt of the stylus affects the stroke. There are five options: • Absolute: Takes the maximum tilt from any axis. • X Only: Measures the tilt only on the X axis. • Y Only: Measures the tilt only on the Y axis. • Axis: When Axis is chosen from the Calculate Tilt pop-up menu, the Tilt Axis parameter becomes available. • Polar: Uses the tilt of the stylus as if it were an angle. When viewed from above, the stylus points in a specific direction. That angle represents a polar value. Tilt Axis: A dial and value slider that becomes available when Calculate Tilt is set to Axis. This parameter allows you to define the axis along which the tilt is measured. Min Tilt: Adjusts the minimum threshold of tilt sensitivity. Tilt values below the minimum value are remapped to 0. For Opacity and Width, those remapped values do not appear. For Spacing, Angle, and Jitter, the values are not modified. If the Min and Max tilt are plotted on a graph, Min Tilt represents the minimum value, or 0. The area of the graph between Min and Max is remapped to the output values. Chapter 20 Using Shapes, Masks, and Paint Strokes 1175 Max Tilt: Adjusts the maximum threshold of tilt sensitivity. Tilt values above the maximum value are remapped to 1. For Opacity, Width, Spacing, Angle, and Jitter, those values will have the greatest effect. If the Min and Max tilt are plotted on a graph, Max Tilt represents the maximum value, or 1. The area of the graph between Min and Max is remapped to the output values. Scale: Determines the magnitude of the effect. Defines the output range for the dabs based on the mapped values between minimum (0) and maximum (1) tilt, multiplied by the value defined in the slider (or value field). This amount is then applied to the parameter (width, opacity, and so on) by multiplying (for width, opacity, spacing, and jitter) or adding (for angle). This control is independent of the Scale parameter in the Stroke pane. Invert: This checkbox inverts the attributes of the stroke created by the behavior. For example, if pen tilt is set to affect the width of the stroke, thin areas of the stroke become wide and wide areas become thin when the checkbox is selected. HUD Controls The parameters in the HUD are identical to the parameters in the Inspector. Oscillate Shape The Oscillate Shape behavior animates a shape by cycling its control points between two values. You can customize how wide apart the high and low values are, as well as the number of oscillations per minute. This behavior is useful for creating fluid shape movements (think shape yoga) that would be time-consuming to keyframe. When the Oscillate Shape behavior is applied to a shape, all control points of the shape are affected by default. When the behavior is selected in the Layers list, affected control points are highlighted in white on the blue shape behavior spline. To disable control points, click the control points. A disabled point appears blue. Parameters in the Inspector Wave Shape: A pop-up menu that lets you select the shape of the oscillation’s wave. The options are Sine (default), Square, Sawtooth, and Triangle. For more information on wave shapes, see Oscillate. Phase: A slider that lets you adjust the point of the specified oscillation where the behavior starts. This parameter allows you to put multiple shapes with identical Oscillate behaviors out of phase with one another so they don’t all look the same. Amplitude: A slider that lets you adjust the maximum values that the control points oscillate between. The control point swings between the amplitude value, and the negative of the amplitude value. Higher values result in more extreme swings from the beginning to the ending of each oscillation. Speed: A slider that lets you adjust the speed at which the oscillation occurs, in oscillations per minute. Higher values result in faster oscillations. 1176 Chapter 20 Using Shapes, Masks, and Paint Strokes Alternate Phase: When this checkbox is selected, the motion of each control point is offset by a phase of 180 degrees from its neighboring control point. Oscillate Around: This pop-up menu allows you to define whether the oscillation for each vertex is generated from a point or a perpendicular line. • Point Origin: Each vertex’s oscillation is generated from a point. You can change the location of the point using the onscreen controls (dragging the small blue circle at the center of the shape) or using the X and Y Origin parameters in the Inspector. • Line: Each vertex’s oscillation is generated from a line. You can change the location of the line using the onscreen controls (dragging the ends of the blue dotted line) or using the using the Start and End coordinates in the Inspector. HUD Controls The Oscillate Shape HUD contains the Wave Shape, Phase, Amplitude, Speed, and Alternate Phase parameters. Randomize Shape The Randomize Shape behavior allows you to animate the control points of a shape by applying a random offset to each point of the shape. This behavior is useful for creating rapid and varied effects on a shape. When the Randomize Shape behavior is applied to a shape, all control points of the shape are affected by default. When the behavior is selected in the Layers list, affected control points appear blue with white dots in the center of the point on the blue shape behavior spline. To disable control points, click the control points. A disabled point is a darker blue with a dark dot in the center of the point. The darker blue control point is disabled and is not affected by the behavior. The lighter blue control point with the white dot is enabled and is affected by the behavior. Chapter 20 Using Shapes, Masks, and Paint Strokes 1177 Parameters in the Inspector Amount/Multiplier: This parameter is set to Amount when the Apply Mode is set to Add, Subtract, or Add and Subtract; it is set to Multiplier when the Apply Mode is set to Multiply. This parameter defines the maximum value the Randomize behavior will generate. Apply To: A pop-up menu that defines whether the behavior is applied to the shape’s control points, tangent handles, or both points and handles. • Points: The control points of the shape are randomized, changing their position over the duration of the behavior. • Tangents: The control points’ tangent handles (rather than the control points) of the shape are randomized. The control points stay in a fixed position while the curves between the points are animated. • Points and Tangents: Both the control points and handles are animated. Apply Mode: A pop-up menu that determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Randomize behavior to modify a vertex’s preexisting values. There are four options: • Add: Values generated by this behavior are added to other behaviors and keyframes that affect the same parameter. • Subtract: Values generated by this behavior are subtracted from other behaviors and keyframes that affect the same parameter. • Multiply: Values generated by this behavior are multiplied by other behaviors and keyframes that affect the same parameter. • Add and Subtract: Values generated by this behavior are added to and subtracted from other behaviors and keyframes that affect the same parameter. Frequency: A slider that lets you adjust the amount of random variation per second. Higher values generate faster variations, whereas lower values generate slower variations. Noisiness: A slider that adds an additional overlay of random variance to the Frequency you’ve set. Higher Noisiness values result in more erratic variations in the affected parameter. Link: This parameter appears when you apply this behavior to a two-dimensional parameter (such as Distort) or three-dimensional parameter (such as Position or Rotation) that consists of X, Y, and/or Z values. Select this checkbox if you want the transformation applied to the X and Y vertices to be the same. For instance a +10 change to X will result in an identical +10 change to Y. Preserve Angle: When this checkbox is selected, the tangent handles become (or remain) flat, maintaining the continuity of the curves. 1178 Chapter 20 Using Shapes, Masks, and Paint Strokes Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. HUD Controls The Randomize Shape HUD contains the Amount, Multiplier, Apply To, Frequency, Noisiness, Link, and Preserve Angle parameters. Sequence Paint The Sequence Paint behavior allows you to animate the individual dabs of a paint stroke in sequence over time. This is the only way to animate the dabs individually—keyframing the stroke parameters or applying other behaviors affects all dabs in the stroke uniformly. The Sequence Paint behavior is very similar to the Sequence Text and Sequence Replicator behaviors, which allow you to animate the Rotation, Color, Opacity, Scale, and Position parameters in sequence through the characters of a text layer or the elements of a replicator pattern. The Sequence Paint behavior adds Width to that list of parameters, allowing you to create sequenced animation through the dabs of a paint stroke. For an example of using a sequence behavior, see Using the Sequence Replicator Behavior. Parameters in the Inspector Sequence Paint: A checkbox that turns sequencing on or off. Before any sequencing animation can occur, you must add at least one parameter to the behavior in the Inspector, and then set a value for that parameter. Until a parameter is added, adjustments in the Inspector or HUD have no effect. Parameter: Use the Add and Remove pop-up menus to add and remove parameters to the sequence. After you add the parameter, additional controls appear in the Behaviors Inspector. Adjust those controls to create a sequence animation based on the difference between the original value of the dabs and the modified value. There are six menu options and related controls: • Rotation: Specifies (in degrees) the rotation of the stroke dabs. You can rotate the dial or use the value slider. Click the disclosure triangle next to the Rotation parameter to reveal separate X, Y and Z Rotation controls. Chapter 20 Using Shapes, Masks, and Paint Strokes 1179 • Color: Specifies a color to use to tint the stroke dabs. You can click the color well to choose a color, or open the disclosure triangle and use the Red, Green, and Blue sliders or value fields. • Opacity: Defines the opacity of the stroke dabs. Set a new value using the slider. • Scale: Defines the scale of the stroke dabs. Click the disclosure triangle next to the Scale parameter to reveal separate X Scaling and Y Scaling subparameters to scale the width and height of the dabs separately. By default, Scale is set to 100%—the size of the stroke dabs is equal to the original size defined in the stroke parameters. • Width: Defines the width of the dabs. Unlike Scale, Width adjustments will alter the size of the dab while also maintaining the spacing between each dab. Set a new value using the slider. • Position: Defines the offset of the dabs from their original position. Click the disclosure triangle next to the Position parameter to reveal separate X, Y, and Z Position subparameters. For example, to create an animation in which the dabs move upward in the Y axis over the paint stroke, enter a positive value in the Y Position field. Sequence Control: These parameters contain controls that allow you to modify the way the animation moves through the paint stroke, such as changing the direction of the animation. Sequencing: A pop-up menu that Specifies how the sequence animation—the value change from the original parameter value to the value set in the Sequence Paint parameters—moves through the dabs of the stroke. The starting point for the sequence animation is based on the first control point of the paint stroke. There are five options: Note: To change the start point of the shape, select the shape, and choose the Edit Points tool from the 2D tools shortcut menu in the toolbar. Then Control-click a control point and choose Set Start Point from the shortcut menu. • To: Specifies that the animation begins at the original value of the dabs and moves to the value set in the Sequence Paint behavior for that parameter. For example, if the original opacity value of a stroke is 100%, and opacity is set to 0% in the Sequence Paint parameters, the dabs begin completely opaque and become completely transparent. • From: Specifies that the animation moves from the value set in the Sequence Paint behavior to the original value of the stroke. For example, if the original opacity value of a stroke is 100%, and opacity is set to 0% in the Sequence Paint parameters, the dabs begin completely transparent and become completely opaque. This is the opposite of the To Sequencing option. 1180 Chapter 20 Using Shapes, Masks, and Paint Strokes • Through: Specifies that the sequence goes through a full animation cycle starting at the original value of the stroke, moves to the value set in the Sequence Paint behavior, and then returns to the original value of the stroke. For example, if the original opacity value of a stroke dab is 100%, and opacity is set to 0% in the Sequence Paint parameters, the dabs begin completely opaque, become transparent, and then become completely opaque again. • Through Inverted: Specifies that the sequence goesthrough an inverted animation cycle starting from the value set in the Sequence Paint behavior, moving to the original value of the stroke, and then returning to the value set in the Sequence Paint behavior. For example, if the original opacity value of a stroke is 100%, and opacity is set to 0% in the Sequence Paint parameters, the dabs begin completely transparent, become opaque, and then become completely transparent. This is the opposite of the Through option. • Custom: Allows you to keyframe how the animation moves through the values set in the Sequence Paint parameters over a stroke. Each dab undergoes the same value sequence. When Custom is selected, added parameters must be animated to yield any effect. Unit Size: A pop-up menu that specifies whether the sequence animation is applied to the stroke as a whole, to its individual dabs, or to a custom range. • Dab: Applies the sequence animation over each dab as its own entity. Dab is the default setting. • All: Applies the sequence animation to all stroke dabs simultaneously. • Custom: Allows you to specify the percentage of dabs on the stroke affected by the sequence animation at once. Although you can create keyframes for the Custom option, it is not required to affect the sequence. Custom allows you to define an area of dabs affected by the sequence. Start: Available when Unit Size is set to Custom, this parameter allows you to specify the starting point for the dabs on the stroke affected by the animation. End: Available when Unit Size is set to Custom, this parameter allows you to specify the ending point for the dabs on the stroke affected by the animation. Spread: To create a softer transition between dabs, increase the Spread value using the slider or value slider. (This parameter is not available when Unit Size is set to All.) Traversal: A pop-up menu that sets the action of the sequence behavior to Constant Speed, Ease In, Ease Out, Ease In/Out, Accelerate, Decelerate, or Custom. • Constant Speed: Moves the animation from the origin of the paint stroke through the end of the stroke at a constant speed. • Ease In: The sequence animation begins slowly and increases to normal speed as it moves through the paint stroke. Chapter 20 Using Shapes, Masks, and Paint Strokes 1181 • Ease Out: The sequence animation begins at normal speed and slows toward the end of the paint stroke. • Ease In/Out: The sequence animation begins slowly, increases to normal speed as it moves toward the middle of the stroke, and slows as it reaches the end of the paint stroke. • Accelerate: The sequence animation increases in speed. • Decelerate: The sequence animation decreases in speed. • Custom: Allows you to keyframe how the animation moves through the paint stroke. When you choose Custom from the Traversal pop-up menu, the Location parameter replaces the Loops parameter. Loops: Sets the number of times the animation sequences through the paint stroke over its duration. Note: Loops is not available when the Traversal parameter is set to Custom. Location: Available only when Custom is selected from the Traversal pop-up menu, this slider defines the location of the stroke where the animation is in effect. For more information on using the Custom Traversal option, see Using the Sequence Replicator Custom Traversal Option. End Condition: A pop-up menu that determines how the sequence animation is repeated over the duration of the sequence behavior. This parameter has no effect for Loop values less than or equal to 1. The End Condition options are: • Hold: Completes the sequence animation cycle one time, then starts it over again from the beginning (after the last dab in the sequence has completed its animation). • Wrap: Treats the sequence animation as a continuous loop so the spread wraps from the last dab in the sequence to the first dab. • Ping Pong: Completes the sequence animation cycle forward, then completes the animation backward, then forward, and so on. HUD Controls The Sequence Paint HUD contains the Sequencing, Unit Size, Spread, Traversal, Loops, and End Condition parameters. Track Points This behavior allows you to track the control points of a shape or mask to a moving clip or animated object, or to apply existing tracking data to a shape or mask. For information on using the Track Points behavior, see Shape Track Points Behavior. 1182 Chapter 20 Using Shapes, Masks, and Paint Strokes Wriggle Shape This behavior works similarly to the Randomize behavior, but with a slower effect (think of a shape that’s had one too many espressos before dance class). When the Wriggle Shape behavior is applied to a shape, all control points of the shape are affected by default. When the behavior is selected in the Layers list, affected control points are highlighted in white on the blue shape behavior spline. To disable control points, click the control points. A disabled point appears blue. Parameters in the Inspector Amount/Multiplier: This parameter is set to Amount when the Apply Mode is set to Add, Subtract, Add and Subtract; it is set to Multiplier when the Apply Mode is set to Multiply. This slider defines the maximum value the Wriggle behavior generates. Apply To: A pop-up menu that defines whether the behavior is applied to the shape’s control points, tangent handles, or both points and handles. • Points: The control points of the shape are wriggled, changing their position over the duration of the behavior. • Tangents: The control points’ tangent handles (rather than the control points) are wriggled. The control points stay in a fixed position while the curves between the points are animated. • Points and Tangents: Both the control points and tangent handles are animated. Apply Mode: A pop-up menu that determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Wriggle behavior to modify a vertex’s preexisting values. There are four options: • Add: Values generated by this behavior are added to other behaviors and keyframes that affect the same parameter. • Subtract: Values generated by this behavior are subtracted from other behaviors and keyframes that affect the same parameter. • Multiply: Values generated by this behavior are multiplied by other behaviors and keyframes that affect the same parameter. • Add and Subtract: Values generated by this behavior are added to and subtracted from other behaviors and keyframes that affect the same parameter. Chapter 20 Using Shapes, Masks, and Paint Strokes 1183 Frequency: A slider that lets you adjust the amount of random variation per second. Higher values generate faster variations, whereas lower values generate slower variations. Wriggle Offset: A slider that allows you to offset the sequence of random values when you want to apply the same Wriggle behavior to multiple shapes. By offsetting each shape’s version of the Wriggle behavior, you can prevent them from moving in sync. Noisiness: This slider adds an additional overlay of random variance to the Frequency you’ve set. Higher Noisiness values result in more erratic variations in the affected vertices. Link: This parameter appears when you apply this behavior to a two-dimensional parameter (such as Distort) or three-dimensional parameter (such as Position or Rotation) that consists of X, Y, and/or Z values. Select this checkbox to keep the behavior’s effect on each value proportional. Preserve Angle: When this checkbox is selected, the tangent handles become (or remain) flat, maintaining the continuity of the curves. Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. HUD Controls The Wriggle Shape HUD contains the Amount, Multiplier, Apply To, Frequency, Wriggle Offset, Noisiness, Link, and Preserve Angle parameters. Write On The Write On behavior provides a quick way to draw a paint stroke or outline on the Canvas over time. This allows you to create a handwritten text effect, create the ever-popular old serial travel map effect, create a hand-sketched alpha mask for a transition or reveal, create an animated graph for a business presentation, produce graphics to prevent monitor burn-ins, and so on. The behavior can be applied to a paint stroke created with the Paint Stroke tool or added to an existing shape. You can have the shape draw, erase, draw and erase, draw in reverse, and so on, over time. When Write On is applied to a filled shape with an outline, only the outline of the shape is drawn. Note: You can manually animate the First Point Offset and Last Point Offset parameters in the Style pane of the Shape Inspector to achieve the same effect as the Write On behavior. Parameters in the Inspector Shape Outline: This pop-up menu determines whether the stroke is drawn, erased, or drawn and erased. • Draw: Draws the stroke over the duration of the behavior. 1184 Chapter 20 Using Shapes, Masks, and Paint Strokes • Erase: The stroke is completely drawn at the beginning of the behavior and is erased over the duration of the behavior. • Draw and Erase: The stroke is drawn, then erased over the duration of the behavior. • Erase and Draw: The stroke is completely drawn at the beginning of the behavior, is erased, then is drawn again. Stroke Length: This slider defines the length, as a percentage, of the drawn or erased stroke. A value of 100% uses the entire length of the stroke, bounded by the First Point Offset and Last Point Offset parameters. If Stroke Length is set to 50%, when 50% of the stroke is drawn on, it begins to erase (from the beginning of the stroke) so only half of the length of the stroke is ever displayed over the duration of the behavior. Stroke Offset: This slider offsets where the stroke begins on the shape. The value is expressed as a percentage of the total length of the shape from the start point defined on the shape. Direction: This pop-up menu sets the direction in which the stroke is drawn. There are two options: • Forward: The stroke is drawn in a forward direction. • Reverse: The stroke is drawn in reverse. Speed: A pop-up menu that defines the stroke’s “draw-on” velocity from the first to the last point in the stroke. There are nine options: • Constant: The stroke is drawn at a steady speed from the first to the last point in the stroke. • Ease In: The drawing of the stroke starts at a slow speed, then reaches and maintains a steady speed through the last point on the stroke. • Ease Out: The drawing of the stroke starts at a steady speed, then slows down as it gradually decelerates to a stop at the last point of the stroke. • Ease Both: The drawing of the stroke slowly accelerates from the first point on the stroke, and then slows down as it gradually decelerates to a stop at the last point of the stroke. • Accelerate: The stroke is drawn with increasing speed. • Decelerate: The stroke is drawn with decreasing speed. • Natural: The speed in which the stroke is drawn along the path is determined by the shape of the path. For example, if the stroke is a U-shape curve, the stroke is drawn along more quickly as it moves toward the low point of the U, and more slowly as it moves up the edges. • Recorded: This option only appears if there is a recorded time over which the stroke was drawn. In other words, if a shape is converted to a paint stroke, this parameter does not appear. If the paint stroke is created with the Paint Stroke tool in the toolbar (using a stylus or mouse), this option does appear. Chapter 20 Using Shapes, Masks, and Paint Strokes 1185 • Custom: Custom allows you to draw the stroke along its path by setting keyframes for the stroke’s speed from 0 to 100%. In other words, you determine what portion of the stroke is drawn along its path in time. Custom Speed: This parameter becomes available when Speed is set to Custom. You can modify the Custom Speed velocity curve in the Keyframe Editor. For example, you can keyframe custom values to draw a stroke forward to a specific percentage of its path, then backward, then forward, and so on before it reaches the end of the animation. End Offset: This slider offsets the end of the behavior inward from the defined Out point and holds the last value. In other words, it offsets the visible paint stroke from the end of the path of the stroke. HUD Controls The Write On HUD contains the Shape Outline, Stroke Length, Stroke Offset, Direction, Speed, and Custom Speed parameters. Creating Write On Paint Strokes You can create a paint stroke that appears over the course of several frames by recording the stroke as it is drawn, or you can apply the Write On behavior to an existing shape to draw its outline on over time. Creating a Write On Paint Stroke Using the Paint Stroke Tool This section describes creating a “write-on” paint stroke using the Paint Stroke tool in the toolbar. To create a paint stroke that appears over the course of several frames, select the Write On checkbox in the Paint Stroke Tool HUD. After you create the stroke, additional parameters become available in the Behaviors Inspector. To paint a stroke over time 1 In the toolbar, click the Paint Stroke tool (or press P). The Paint Stroke Tool HUD appears. If the HUD does not appear, press F7 or D. 2 In the Tool HUD, select the Write On checkbox and any other desired stroke settings. 3 In the Canvas, create your stroke. 4 When you complete stroke, press Esc to exit the paint mode. The Paint Stroke Tool HUD is replaced with the Shape HUD. In the Layers list, a Write On Shape behavior is applied to the stroke. To modify the Write On parameters, select the behavior and use the HUD or the Behaviors Inspector. The speed at which the stroke is “painted” (including the duration it took to draw the stroke) is mapped over the time extent (in frames) of the stroke. The faster a stroke is drawn, the shorter the duration of the Write On behavior. Note: If your Motion Project Preferences Create Layers At option is set to Current Frame, the paint stroke is created at the current playhead position. If set to Start of Project, the stroke is created at frame 1. 1186 Chapter 20 Using Shapes, Masks, and Paint Strokes 5 Play back your project. The stroke is “painted on” as the project plays. 6 To modify the speed at which the stroke is painted, adjust the duration of the behavior in the Timeline or mini-Timeline. You can also modify additional parameters, such as customizing the speed at which the stroke is drawn, drawing on only a percentage of the stroke, offsetting the stroke, or drawing the stroke in reverse. These parameters are available in the Write On behavior, described above. Creating a Write On Paint Stroke Using an Existing Shape You can apply the Write On behavior to an existing shape to draw its outline over time. Because the Write On behavior only affects outlines, Outline must be enabled in the Shape parameters. Note: When a Write On behavior is added to an existing shape, the behavior spans the duration of the shape to which it is applied. To create a write on stroke using an existing shape 1 Select the shape you want to use and select its Outline checkbox in the HUD or Shape Inspector. Note: You can leave the Fill checkbox selected, but only the outline is affected by the Write On behavior. 2 In the toolbar, choose Shape > Write On from the Add Behavior pop-up menu. The Write On behavior appears in the Layers list. If the playhead is located at the start of the shape, the visual shape disappears and only the path is visible. 3 Play the project (press the Space bar). The outline is drawn over the length of the behavior. 4 To adjust the speed at which the stroke is painted, adjust the duration of the behavior in the Timeline or mini-Timeline. 5 To adjust the properties of the stroke, use the Shape Inspector. For more information, see Shape Parameters. Chapter 20 Using Shapes, Masks, and Paint Strokes 1187 Keyframing Shape Animation You can also keyframe a shape’s animation parameter to animate adjustments to its individual control points. This opens up powerful animation possibilities, because you can reform an entire shape using keyframe animation. Shape Animation parameter keyframes Shape Animation parameter A series of corresponding keyframed shape changes To keyframe a shape’s control points 1 Use the Edit Points tool (in the 2D tools pop-up menu) to select the shape to animate. 1188 Chapter 20 Using Shapes, Masks, and Paint Strokes The shape’s control points appear in the Canvas. In this example, the selected shape is the lower lip of the mouth illustration. 2 Turn on keyframe recording in the transport controls under the Canvas (or press A). 3 Move the playhead to the frame where you want to change the shape, then make any necessary changes to the shape’s control points. In the Keyframe Editor (and also in the Timeline, if the Show/Hide Keyframes button is turned on), a keyframe appears for each adjustment you make at a new frame. Note: Adjusting a shape while the playhead is on an existing keyframe adjusts the shape at that keyframe. 4 Continue advancing frames and making changes. Chapter 20 Using Shapes, Masks, and Paint Strokes 1189 Every time you make a change to the shape at a new frame, you create a keyframe in that shape’s Shape Animation parameter. 5 When you are done animating the shape, disable Record. The animated shape object interpolates between each keyframed shape. If you don’t like how the interpolation is working, you can add more keyframes to force the control points to follow the path you want. First keyframe Interpolated shape Second keyframe You can also create, delete, and edit the timing of Shape Animation keyframes in the Keyframe Editor. For simplicity, each change you make to a shape is recorded as a single keyframe, no matter how many control points are edited. The Shape Animation parameter only allows keyframes set to linear interpolation. You cannot use any other form of keyframe interpolation. The process used to animate both shapes and masks is identical. To see an example of mask animation, see Keyframing a Mask’s Shape for Animation and Rotoscoping. For more information on keyframing in general, see Keyframes and Curves. Saving Shapes and Shape Styles Like all objects in Motion, shapes and shape styles (a custom gradient fill and outline, for example) can be saved to the Library. This allows you to add to the content that Motion provides to create a library of your own custom objects and styles, including customized behaviors and filters or whole project groups. Content you put into the Library is available to every project in Motion. Custom shapes (including masks) can be saved in the Shapes, Favorites, or Favorites Menu categories of the Library. Custom shape styles, which are saved via the Shape Style pop-up menu, are saved in the Shape Styles category. You can create your own folders in the Library categories or subcategories to better organize your effects. 1190 Chapter 20 Using Shapes, Masks, and Paint Strokes Each customized shape or shape style saved to the Library is saved as a separate file in the Motion folder of the Application Support directory. For example, a saved custom shape named “red heart” in the Shapes category of the Library appears in the Users/username/Library/Application Support/Motion/Library/Shape Styles/ folder. Items saved to the Library appear in the Finder with a .molo extension (“Motion Library object”). These items cannot be opened from the Finder. Saved Shape Positions When you drag a custom shape from the Library to the Canvas, the center of the shape is dropped where you release the mouse button. If you use the Apply button in the preview area to add the shape, the shape is added at the center of the Canvas. When you drag shapes that were saved with the “All in one file” option to the Canvas, the shapes are dropped where you release the mouse button and are positioned according to their arrangement when originally saved to the Library. If you use the Apply button in the preview area to add the shapes, the shapes are added at the center of the Canvas. When you drag a custom mask from the Library into a project, the mask retains the position with which it was saved (relative to the image or footage on which it is dropped). To save a shape to the Library 1 Open the Library and select the Favorites, Favorites Menu, or Shapes category. 2 Drag the shape you want to save from the Layers list or Timeline into the stack at the bottom of the Library. Shapes saved to the Favorites Menu category can be added to a project via the Favorites menu. The saved custom shape appears in the Shapes category of the Library in the Users/username/Library/Application Support/Motion/Library/Shape Styles/ folder. To save multiple shapes to the Library 1 Open the Library and select the Favorites, Favorites Menu, or Shapes category. 2 In the Layers list, select the shapes to save, drag them to the stack, and hold down the mouse button. 3 When the drop menu appears, choose “All in one file” or “Multiple files.” “All in one file” saves the shapes together, and they are listed as one item in the Library. “Multiple files” saves the shapes as individual objects in the Library. Chapter 20 Using Shapes, Masks, and Paint Strokes 1191 4 To rename the file, do one of the following: • Control-click the icon, choose Rename from the shortcut menu, then enter a descriptive name. • Select the icon, click the current name, then enter a new descriptive name. Note: When you Control-click the icon, the Edit Description option becomes available. This is a handy tool that allows you to enter custom notes about an item saved in the Library. After you choose Edit Description, enter your notes in the text field and click OK. To save a shape style to the Library 1 With the shape selected, choose Save Shape Style from the Shape Style pop-up menu in the Style pane of the Shape Inspector (or in the Shape HUD). 2 Enter a name for the style in the Save Preset to Library dialog and click Save (or press Return). The custom style is saved to the Library in the All subcategory of the Shape Styles category by default. You can move the preset into an existing subcategory, or create your own folders to organize your custom styles (see below). When the style is selected in the Library stack, a preview is displayed in the Preview pane. The new preset now appears in the Shape Style pop-up menu in the Style pane of the Shape Inspector. The saved custom shape style appears in the Shape Styles category of the Library in the /Users/username/Library/Application Support/Motion/Library/Shape Styles/ folder. To apply a shape style to a shape Do one of the following: µ With the shape selected, click the Style pane in the Shape Inspector (or in the Shape HUD), then choose a style from the Shape Style pop-up menu. µ Drag a shape style from the Library to a shape in the Canvas, Layers list, or Timeline. µ Drag a stylized existing shape onto another shape in the Layers list, hold down the mouse button, and choose Copy Style to Shape from the drop menu. To create a folder in a Library category 1 Open the Library and select the Shapes, Shape Styles, Favorites, or Favorites Menu category. 2 Do one of the following: • Click the New Folder button (+) at the bottom of the window. 1192 Chapter 20 Using Shapes, Masks, and Paint Strokes • Control-click an empty area of the Library stack (the lower section of the Library) then choose New Folder from the shortcut menu. Note: You may have to expand your stack window or use icon view to access an empty area. The new untitled folder appears in the Library stack. The new folder does not appear in the Library sidebar. 3 Double-click the name of the folder, enter a new name, then press Return. To create a folder in a Library subcategory 1 Open the Library and select a subcategory, such as the Fauna subcategory of the Content category. 2 Do one of the following: • Click the New Folder button (+) at the bottom of the window. • Control-click an empty area of the Library stack (the lower section of the Library), then choose New Folder from the shortcut menu. Note: You may have to expand your stack window or use icon view to access an empty area. The new untitled folder appears in the Library stack. The new folder does not appear in the Library sidebar. 3 Double-click the name of the folder, enter a new name, then press Return. To move a shape to a custom folder in a Library category µ Drag the shape to the new folder in the Library sidebar. The custom preset is added to the new folder and to the All subcategory. To move a shape to a custom folder in a Library subcategory µ Drag the shape to the new folder in the Library stack. The custom preset is added to the new folder and to the All subcategory. To move a shape style to a custom folder in a Library category µ After you save the new preset via the Shape Style pop-up menu in the Style pane of the Shape Inspector, drag the custom preset from the All subcategory in the Library stack to the new folder in the Library sidebar. The custom preset is added to the new folder. Note: Because shape styles are saved via the Shape Style pop-up menu in the Style pane of the Shape Inspector, they cannot be dragged to the Library. To delete a custom shape or shape style µ Control-click the custom item, then choose Move to Trash from the shortcut menu. Chapter 20 Using Shapes, Masks, and Paint Strokes 1193 To delete a custom folder from a subcategory in the Library stack µ Control-click the folder in the Library stack, then choose Move to Trash from the shortcut menu. Note: You can also delete the folder from the Finder. The folder is stored in the Users/username/Library/Application Support/Library/ folder. Important: Deleting a custom object or folder cannot be undone. To delete a custom folder from a category in the Library sidebar µ In the Finder, navigate to the Users/[username]/Library/Application Support/Motion/Library/ folder, Control-click the folder, then choose Move to Trash from the shortcut menu. Using Masks to Create Transparency When you create a mask to define transparency in a layer, you’re drawing a shape to use as that layer’s alpha channel. Because a layer’s alpha channel is a grayscale channel, masks are grayscale objects, where white defines solid areas, progressively darker levels of gray define decreasingly opaque areas, and black defines areas of complete transparency. If you choose View > Channels > Alpha to set the Canvas to display the alpha channel only, you can see the grayscale alpha channel directly. Masked object Object alpha channel You can apply masks to layers that already have an alpha channel, to add to, subtract from, intersect, or replace the layer’s original alpha channel. Masking a Layer or Group Use the mask tools to create different shapes with which to mask a layer or group. There are five mask tools available that are analogous to the five shape drawing tools covered earlier in this chapter: • Rectangle Mask • Circle Mask 1194 Chapter 20 Using Shapes, Masks, and Paint Strokes • Freehand Mask (used like the Paint Stroke tool) • Bezier Mask • B-Spline Mask Note: You can also use an Image Mask to mask a layer. For more information, see Applying Image Masks to a Layer. Important: A mask cannot be applied to a nonflattened 3D group. (To flatten a 3D group, select the Flatten checkbox in the Group Inspector.) A mask can be applied to a layer in a 3D group. To add a mask to a layer that has been manipulated in 3D space, use the Isolate button. Masks cannot be manipulated in 3D space. For example, the Position parameter for a mask only includes the X and Y position parameters, but not the Z position parameter; the Rotation parameter only includes Z, but not X or Y. For more information, see Masking Objects in a 3D Project. Drawing and editing masks using these tools works identically to drawing and editing shapes. The main difference is that while drawing a shape creates a new layer in your project, masks must be drawn on top of another layer in your project. After you draw a mask, it is nested in the specific layer or group for which it was created, in the Layers list and Timeline. When a mask is attached to a layer, a mask icon appears to the right of the name of the layer. Turn the mask display on or off by clicking this icon. Click the mask icon to turn mask display on or off. Note: Masks created for one layer can be copied or moved to other layers. Important: When a mask is applied to a 2D or flattened 3D group, the group is rasterized. For more information, see Groups and Rasterization. Chapter 20 Using Shapes, Masks, and Paint Strokes 1195 To mask a layer 1 Select a layer in the Canvas or Layers list. 2 Choose a mask drawing tool from the pop-up menu in the toolbar (the Rectangle Mask tool, the Circle Mask tool, the Freehand Mask tool, the Bezier Mask tool, or the B-Spline Mask tool). Note: If you haven’t selected a layer, the mask tools are not available. 3 Begin drawing the shape to mask the layer. For more information about how to draw and edit shapes, see Shape and Mask Drawing Tools. 1196 Chapter 20 Using Shapes, Masks, and Paint Strokes 4 When you’re done, you can finish the mask by doing one of the following: • Click the first point to close the mask. • Press C to close the mask, joining the first point you created to the last. • Double-click to close the mask, joining the first point you created to the last. • Press Return to close the mask, joining the first point you created to the last. • When using the Freehand Mask tool, join the end of the mask to the target circle at the beginning of the mask. If you don’t reach the beginning of the mask, the mask shape is closed when you lift the stylus or release the mouse button. Note: Unlike standard shapes, masks are always closed. After you’ve finished drawing the mask, its effect is immediate, and the mask you created appears nested underneath the layer to which it’s applied in the Layers list and Timeline. You can create multiple masks for a single layer. To add masks, select the object again, then follow the above procedure. By default, all new masks are set to the Add blend mode. You can change the Mask Blend Mode parameter in the Inspector to combine masks for different effects. For more information about using multiple masks together, see Combining Multiple Masks. Masking Objects in a 3D Project When working in a 3D project, you might want to mask a layer after it is transformed or the camera is rotated. You can immediately switch a transformed object into a “work view” using the Isolate button in the Layers list or Timeline, or the Isolate command in the Object menu. After you add a camera to a project, the Isolate option becomes available for any layer, group, or camera in the project. Chapter 20 Using Shapes, Masks, and Paint Strokes 1197 Note: Masks can be applied to the layers in a 3D group, but not the 3D group itself (unless you’ve activated the Flatten checkbox in the Group Inspector). For more information about the Flatten checkbox, see Mask Parameters. To isolate a layer 1 In the 3D project, select the layer to mask. In this example, the center leopard image is the layer to be masked. The Isolate button appears to the right of the layer name in the Layers list. Note: A project must contain a camera before you can access the Isolate option. 2 Click the Isolate button or choose Object > Isolate. Inactive Isolate button Note: You can also Control-click the layer or group and choose Isolate from the shortcut menu. 1198 Chapter 20 Using Shapes, Masks, and Paint Strokes The layer is switched into “work view,” allowing you to mask the layer at its original orientation. 3 To return to your previous view (the view before you isolated the layer), click the Isolate button again. Active Isolate button Note: Clicking a camera’s Isolate button activates that camera’s view. Combining Multiple Masks Often, you may find that it is impossible to create the mask shape you need using only a single mask. For example, when masking something that has a hole in it, you need at least two masks—one set to Add to mask the overall object, and a second one set to Subtract to cut the necessary hole in the middle of it. In the following example, the only way to mask the space between the diver’s arms and legs is to create three overlapping masks set to Subtract. Original object Three overlapping masks Final result Chapter 20 Using Shapes, Masks, and Paint Strokes 1199 Other times, you may find that it’s more convenient to mask a complex object using multiple masks. This is frequently the case when rotoscoping an object and animating the masks. In this example, the dog’s head is masked with four masks set to Add—one for the head, one for each ear, and a separate mask for the mouth. This makes it easier to make adjustments later on, especially when animating a mask to do rotoscoping. Original object Four overlapping masks End result Whatever the reason, you can easily combine multiple masks for any object by adjusting each mask’s Mask Blend Mode parameter in the Inspector to create any combination. Each mask’s blend mode determines whether the mask adds to, subtracts from, or replaces a layer’s previously existing alpha channel. Additionally, blend modes affect how masks interact with one another. Ultimately, every mask applied to a layer combines according to the specified blend modes to create that layer’s final alpha channel. Mask Blend Modes can be changed at any time. Blend mode operations are also determined by the order in which each mask appears in the Layers list, particularly with the Replace and Intersect modes. For example, a mask set to the Intersect mode masks out all other regions of a layer that do not overlap it. A mask set to Intersect affects all masks nested underneath it. Masks added above it are unaffected by this behavior. 1200 Chapter 20 Using Shapes, Masks, and Paint Strokes Masks That Add and Subtract New masks default to the Add blend mode, allowing you to add to an existing alpha channel. After you draw the first mask, you might need to use additional masks set to Add or Subtract to refine it. Masks set to Add create white areas in the alpha channel, making those parts of the object opaque. This can be useful when masking several unconnected subjects in a single image. Result of first mask Additional masks added to the first Note: To display the rest of a masked layer so you can trace it to create a second mask, turn off the first mask in the Layers list or Timeline. The outline of the first mask remains visible, even though it’s no longer affecting the layer’s transparency. Predictably, masks set to Subtract have the opposite effect, creating black areas in the layer’s alpha channel and making those parts of the object transparent. This is useful for cutting holes in an object. Result of first mask Additional masks subtracted from the first Intersecting Masks In many instances, you may find you want to cut out parts of an object, while leaving the rest of the object alone. Using a mask set to Intersect is a good way to do this. Chapter 20 Using Shapes, Masks, and Paint Strokes 1201 For example, if you import a TIFF file with an alpha channel and you want to cut out part of it without losing alpha information, you must use the Intersect blend mode. This is also true for layers with keying filters applied. Original alpha channel from key. Intersecting mask crops unwanted opaque areas. Replace Masks A mask set to Replace completely replaces the previously existing alpha channel. It also completely replaces all other masks appearing underneath it in the Layers list. For this reason, it is unlikely that any but the bottommost mask would be set to this blend mode. Feathering Masks One of the easiest ways to adjust a mask is to feather its edges. Feathering a mask by a few pixels can make the masked object blend more seamlessly with a background. Feathering a mask by larger amounts allows you to create progressively softer edges for various design purposes. 1202 Chapter 20 Using Shapes, Masks, and Paint Strokes You can feather mask edges outward or inward. The direction in which you feather a mask is dictated by the subject you’re masking. When rotoscoping a subject, a combination of inward and outward feathered masks may be necessary for the best results. Feathered in (color channel) Feathered in (alpha channel) Feathered out (color channel) Feathered out (alpha channel) To feather the edge of a mask 1 Select a mask. 2 Open the Mask Inspector. 3 Do one of the following: • Drag the Feather value slider to the right for a positive value to feather the mask outward. • Drag the Feather value slider to the left for a negative value to feather the mask inward. Applying Filters to Masks As with shapes, you can apply filters to masks, which remain editable even after the application. It’s an extremely powerful way to further manipulate the alpha channel created by a mask. Chapter 20 Using Shapes, Masks, and Paint Strokes 1203 For example, you can apply the Crystallize filter to a mask to stylize its edges. This results in jagged edges that resemble facets of crystal around the edges. Original mask (color channel) Original mask (alpha channel) Crystallize filter applied to alpha channel (color channel view) Crystallize filter applied to alpha channel (alpha channel view) When applying filters to masks, it’s useful to bear in mind that masks are just grayscale images. In the example above, the Crystallize filter creates patterns in the grayscale mask image, which results in a rippled translucent pattern. To apply a filter to a mask Do one of the following: µ Drag a filter from the Library onto a mask in the Layers list or Timeline. µ Select a mask in the Layers list or Timeline, then choose a filter from the Add Filter pop-up menu in the toolbar. The filter appears nested underneath the mask layer to which it’s applied. 1204 Chapter 20 Using Shapes, Masks, and Paint Strokes Applying Behaviors to Masks You can apply behaviors to masks. When you apply a behavior to a mask, the mask is animated like any other layer. However, because the mask only affects the transparency in a layer, and not the position, rotation, or scale of the layer, the result is similar to that of a “traveling matte,” where the mask moves in the layer it is applied to, hiding and showing different areas of the image as it moves. To apply a behavior to a mask Do one of the following: µ Drag a behavior from the Library onto a mask in the Layers list or Timeline. µ Select a mask in the Layers list or Timeline, then choose a behavior from the Add Behavior pop-up menu in the toolbar. The behavior appears nested underneath the mask to which it’s applied. Keyframing a Mask’s Shape for Animation and Rotoscoping You can keyframe a mask’s animation parameter to change its shape over time. This can serve many purposes. For example, you can animate a subtractive mask to change the shape of a hole in a foreground object, allowing other layers in the background to show through. A more conventional use of animated masks is to rotoscope a foreground subject. Rotoscoping is the process of manually tracing a foreground subject to isolate it from the background. The end result is similar to a blue screen or green screen effect. Why would you bother? In a wide variety of situations, keying is impractical or impossible if the shot wasn’t well planned. Even for shots where keying is possible, manual rotoscoping is often necessary to create garbage or holdout mattes to improve the effect. (For more information on creating garbage and holdout mattes or masks using masks, see Using Masks to Aid Keying Effects.) All mask animation is stored in the Shape Animation parameter. It’s worth noting that animated masks trigger the same motion blur as any other keyframed parameter in Motion. For example, if you animate a layer’s position so it moves really fast, the layer is blurred when you enable motion blur. If you animate a layer’s mask so it also moves fast, the edges of the mask are blurred as well. This is important because an animated mask’s blur should ideally match any blur present in the foreground subject. To rotoscope a subject by animating a mask 1 Choose View > Resolution > Full to ensure that you are viewing the Canvas at full resolution. Important: If the Canvas resolution is not set to full, the outlines of objects and images may shift slightly. As a result, masks created to trace a subject at less than full resolution may not be accurate. Chapter 20 Using Shapes, Masks, and Paint Strokes 1205 2 Move to the first frame where the mask animation should begin, then draw a mask that accurately isolates the subject. 3 When you’re finished drawing the first mask, click the Record button in the transport controls (or press A). Active Record button 4 Move to the first frame of the Timeline where you want to change the shape of the mask, then make any necessary changes to its control points. In this example, the best place to start when rotoscoping the dolphin is the frame where all the fins are showing. 1206 Chapter 20 Using Shapes, Masks, and Paint Strokes Note: For some tips on rotoscoping, see Rotoscoping Tips. Original image Masked image Chapter 20 Using Shapes, Masks, and Paint Strokes 1207 Composited image (Mask allows different effects to be applied to the background image and the foreground image.) When rotoscoping a moving subject, it’s a good idea to play through the clip and examine its direction and speed to get a sense of how the mask must be animated. You may find it helpful to place markers indicating frames where the subject or camera stops, changes direction, or changes speed, because these are likely candidates for your first pass of keyframed mask changes. By noting these changes, you can attempt to reduce the amount of keyframing by making your first keyframed mask shape adjustments at these major changes in speed and direction. Because animated masks are interpolated to change from one keyframed shape to another, you can let Motion do some of your work for you. Note: If the mask is deselected, you must select it in the Layers list so its control points become visible in the Canvas. Make sure that the Show/Hide Masks button is selected in the Layers list so masks are visible. 5 Continue moving the playhead and making changes. 1208 Chapter 20 Using Shapes, Masks, and Paint Strokes One imprecise rule of thumb is to move to the frame that’s halfway between any two keyframed mask shapes and make new adjustments. Continue keyframing shape changes at the halfway point between every two keyframes until the mask accurately follows the motion of the subject. For irregularly shaped objects or objects with complex motion, don’t be surprised if you need to add a large number of keyframes. Nobody ever said that rotoscoping was fast! Every time you move the playhead to a new frame and make a change to the mask’s shape, a keyframe is created in that shape’s Shape Animation parameter. If you move the playhead directly on top of a previously existing keyframe, you change the mask’s shape at that point without creating a keyframe. Shape Animation parameter keyframes Shape Animation parameter Note: You can also transform masks as you would any other layer. If you move, rotate, scale, or change the anchor point for a mask while animation recording is enabled, you add keyframes to additional channels in the Keyframe Editor. 6 When you’ve finished animating the mask, disable Record (press A). You can also create, delete, and edit the timing of a mask’s Shape Animation keyframes in the Keyframe Editor. For simplicity, each change you make to a mask is recorded as a single keyframe, no matter how many control points you edited. The Shape Animation parameter only allows keyframes set to Constant—you cannot use any other form of keyframe interpolation. The process used to animate both masks and shapes is identical. To see an example of shape animation, see Animating Shapes. For more information on keyframing in general, see Keyframes and Curves. Chapter 20 Using Shapes, Masks, and Paint Strokes 1209 Rotoscoping Tips A good way to start rotoscoping an image is to find the frame with the most detail showing in the subject you’re masking, and use that as your starting frame. For example, if you’re masking someone walking, choose a frame where that person’s arms and legs are out in mid-stride. This allows you to decide how many control points to start with. Using the minimum number of control points you can to achieve the necessary level of detail in your mask makes it much easier to animate. It’s not always necessary to rotoscope an entire subject with a single mask. Motion allows you to apply multiple masks to a single object, so you can rotoscope different parts of a subject with separate masks. This can make your job much easier. For example, if you’re rotoscoping someone carrying something while walking across a room, you can use one mask for the upper part of the person’s body which doesn’t change shape very much, and another two masks for the legs, which change shape considerably as the person walks. To pan the image in the Canvas while rotoscoping, press the Space bar. You can then pan in the Canvas without losing your mask selection or progress. You can also use the Track Points behavior to apply tracking data to a shape or mask. For more information on the Track Points behavior, see Shape Track Points Behavior. Mask Parameters A selected mask’s parameters appear in the Mask Inspector. Except for control points parameters, the parameters in the Mask HUD are identical to the parameters in the Inspector. Mask Controls in the Inspector These controls allow you to adjust how the mask is drawn, how each mask operates upon an object, and how masks are combined with one another. The Mask Inspector also allows you to fine-tune mask control point positions using value sliders. Shape Type: This pop-up menu lets you change the type of control points used to define the mask. For example, if you originally created a Bezier mask, you can choose B-Spline from this menu to change how the mask is drawn. Changing the shape type might dramatically change the mask’s form even though its control points remain fixed at their original coordinates. There are three options: • Linear: All of a mask’s control points are joined by hard angles, and the resulting mask is a polygon. The control points of a Linear mask lie directly on its edge. • Bezier: Control points can be a mix of Bezier curves and hard angles, creating any sort of mask. The control points of a Bezier mask lie directly on its edge. 1210 Chapter 20 Using Shapes, Masks, and Paint Strokes • B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie outside the surface of the mask, but are connected by the B-Spline frame. Note: You can hide the B-Spline frame by turning off Lines in the View pop-up menu above the Canvas. Mask Blend Mode: Determines how a mask interacts with the alpha channel of the layer to which it’s applied. When a layer has multiple masks, each mask can have a different Mask Blend Mode. When this happens, each mask adds to, or subtracts from, the layer’s alpha channel according to the selected mode. The final alpha channel is the combined result of all masks applied. There are four choices in this pop-up menu: • Add: This is the default selection for new masks. Each new mask adds to the existing alpha channel. This is useful for adding back regions of an image that other masks are cutting out. In the following example, both the rectangle and circle masks create opaque regions. Chapter 20 Using Shapes, Masks, and Paint Strokes 1211 If the layer contains an alpha channel, a mask set to Add mode isolates only the masked section of the original alpha channel. Original alpha channel of butterfly clip Circle mask set to default. Add mode applied to butterfly clip. • Subtract: Subtracts a mask from the alpha channel. This is useful for creating holes in the middle of objects, or for masking out additional regions of an image that are untouched by other masks. In the following example, both the rectangle and circle masks create transparent regions. 1212 Chapter 20 Using Shapes, Masks, and Paint Strokes • Replace: This setting uses the current mask to completely replace the object’s original alpha channel, as well as any other masks that are applied to the same object that appear underneath the current mask in the Layers list. You can add masks above, set to whatever blending mode you like. In the following example, the circle mask overrides the rectangle, because is the topmost mask nested in the gradient object. • Intersect: Masks set to intersect do not replace an object’s original alpha channel. Instead, they mask out all regions of the object that do not overlap the mask itself. This includes other masks applied to the same object that appear nested underneath the intersecting mask in the Layers list. In the following example, only the overlapping areas of the rectangle and circle masks are opaque. Everything else is transparent. Invert Mask: When this checkbox is selected, the mask is inverted—its solid and transparent areas are swapped. This is useful if you need to switch the solid and transparent areas of an existing mask. Chapter 20 Using Shapes, Masks, and Paint Strokes 1213 Tip: You can apply different filters and effects to the foreground and background of an image by first masking the foreground subject, duplicating the layer and its mask, then inverting the duplicate layer’s mask. Effects applied to the background can then be completely isolated from the foreground, or vice versa. Note: You can adjust the opacity of a mask in the Properties Inspector. Roundness: Controls the roundness of the corners of a mask. This facilitates the creation of rounded rectangle masks, as well as generally smoothing the edges of any mask. Preserve Scale: This checkbox controls whether the Roundness setting is absolute or relative to the overall mask size. When enabled, the roundness will remain at the same approximate percentage of curvature as the object is scaled. When disabled, the curvature will vary as the overall mask changes size. Feather: A slider that feathers (softens) the edges of a mask. Positive feathering values soften the edge of the mask from its edge outward. Negative feathering values soften the edge of a mask inward from the edge. Feathering the edge of a mask can soften a harsh rotoscoping job, making the masked object blend more easily with the background. Falloff: Controls how “steep” the feathering is. Higher values result in feathering that’s pushed in farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. Mask Color: A pop-up menu that controls the color of the mask as displayed in the Canvas when it is selected. This setting has no effect on the final output. Setting masks to different colors may aid you in identifying which mask is which. Control Points: Click the disclosure triangle to display the position parameters for the mask control points. Use the value sliders to adjust the position of a control point. The left value slider represents X and the right value slider represents Y. Applying Image Masks to a Layer Another way you can create transparency in a layer is by using image masks. An image mask creates transparency in a layer by deriving an alpha channel from another layer, such as a shape, text, movie, or still image. Text layer Image layers Layers masked by text layer 1214 Chapter 20 Using Shapes, Masks, and Paint Strokes Note: You can use masks and image masks together. The power of image masks is that they do not have to be drawn or animated. Instead, you can use virtually any image or movie clip to create transparency in another layer. By default, movie clips create animated image masks, but you can also set an image mask to use only a single frame. Image masks can also be used to assign masks created in other applications. For example, you can import an animated mask that was created in another application and exported as a QuickTime movie into your Motion project, then use it as an image mask. When you use a layer as an image mask, you can choose which of the layer’s channels to apply to create transparency via the Source Channel pop-up menu in the Image Mask Inspector. The choices include: • Red • Green • Blue • Alpha • Luminance Because alpha channels are basically 8-bit grayscale images, you can use any single color channel as an image mask. You can also use another layer’s alpha channel. Luminance allows you to use the aggregate luminance from the red, green, and blue channels of an image to create transparency. For all these options, color is ignored. Assigning an image mask is a two-part process. First, you create a blank image mask underneath a layer. Then you assign the image you want to use to create transparency. To add an image mask to a layer 1 Select the layer to mask. 2 Choose Object > Add Image Mask (or press Command-Shift-M). The image mask appears underneath the layer in the Layers list and Timeline. Image mask Chapter 20 Using Shapes, Masks, and Paint Strokes 1215 3 With the image mask selected, do one of the following: • Open the Image Mask Inspector, then drag the layer to use as the mask into the Mask Source well. Mask Source well • Drag the layer to use as the mask into the Mask Source well in the HUD. Important: Click and drag in one movement to successfully drop a layer in an image well. If you select the layer to use as the source, then release the mouse button, you lose the selection. In this example, text is used as the mask layer. 4 Choose the channel you want to use to create transparency from the Source Channel pop-up menu, as well as any other options necessary to create the required transparency. Applying Filters to Image Masks Like shape masks, you can add filters to image masks to further manipulate the transparency effect. You may be able to improve the mask that’s created by using color correction filters such as Brightness, Contrast, and Gamma to manipulate the contrast of the mask, pulling out or reducing detail to create the transparency effect you need. Filtering image masks works identically to filtering shape masks. For more information, see Applying Filters to Masks. 1216 Chapter 20 Using Shapes, Masks, and Paint Strokes Applying Behaviors to Image Masks You can also apply behaviors to image masks to create animated transparency effects. For more information, see Applying Behaviors to Masks. Image Mask Parameters After you add an image mask to a layer, the following parameters become available in the Image Mask Inspector. Image Mask Parameters in the Inspector The Image Mask HUD contains the Mask Source, Source Channel, Mask Blend Mode, Invert Mask, Stencil, and Stretch parameters. These controls, and the additional parameters in the Inspector, are described below. Mask Source: An image well that assigns a layer (a shape, text, an image, a movie, particle emitter, numbered image sequence, and so on) to use to mask a layer. Frame: When you use a movie or image sequence as the assigned image, this slider allows you to select the start frame for playback. Hold Frame: When you use a movie or an image sequence as the assigned image, selecting this checkbox freezes the frame specified in the Frame parameter. That frame is then used as the mask for the masked layer’s total duration. Offset: Offsets the X and Y values of the mask’s position, relative to the layer it is masking. This allows you to change which part of the layer is masked. Wrap Mode: If an image mask is smaller than the layer it is assigned to, you can increase the area it affects by selecting a wrap mode from this pop-up menu. There are three options: • None: The object is used as is. • Repeat: The object is duplicated and tiled to fill up the full width and height of the image. • Mirror: The layer is duplicated, tiled, and reversed to fill up the full width and height of the image. This may create a more seamless repetition for some images. Source Channel: A pop-up menu that lets you choose which channel of the assigned image is used to create the mask. There are five choices: • Red: Uses the red channel as a grayscale mask. • Green: Uses the green channel as a grayscale mask. • Blue: Uses the blue channel as a grayscale mask. • Alpha: Uses the alpha channel from the mask layer. • Luminance: Uses the aggregate luminance from the red, green, and blue channels as a grayscale mask. Chapter 20 Using Shapes, Masks, and Paint Strokes 1217 Mask Blend Mode: A pop-up menu that determines how an image mask interacts with the alpha channel of the layer to which it is applied. When a layer has multiple image masks, each mask can have a different Mask Blend mode. When this happens, each mask adds to, or subtracts from, the layer’s alpha channel according to the selected mode. The final alpha channel is the combined result of all image masks applied. These modes are identical to the Mask Blend Mode options available for shape masks. The four options are: • Add: This is the default selection for new masks. The mask is added to the alpha channel. This is useful for adding back regions of an image that other masks are cutting out. • Subtract: Subtracts a mask from the alpha channel. This is useful for creating holes in the middle of layers, or for masking out additional regions of an image that are untouched by other masks. • Replace: This setting uses the current mask to completely replace the layer’s original alpha channel, as well as any other masks applied to the same layer that appear underneath the current mask in the Layers list. You can add masks above, set to whatever blending mode you like. • Intersect: Masks set to Intersect do not replace a layer’s original alpha channel. Instead, they mask out all regions of the layer that do not overlap the mask itself. This includes other masks applied to the same layer that appear nested underneath the intersecting mask in the Layers list. Invert Mask: When this checkbox is selected, the mask is inverted—its solid and transparent areas are swapped. This is useful if you need to switch the solid and transparent areas of an existing mask. Stencil: When this checkbox is selected, the layer’s geometric transforms are respected by the mask. If you’re creating a mask with transformed Scale, Position, Rotation, or other parameters, select this checkbox to use the modified layer. Stretch: A checkbox that becomes available when Stencil is deselected. Selecting this checkbox stretches the mask to fit the boundaries of the image and centers the mask on the layer’s center point. Using Masks to Aid Keying Effects Keying is rarely a one-step process. Although adding a keying filter is the first step, there is usually additional work that must be done to create a good key that retains detail around the edge of your subject. You can use the mask tools and alpha channel filters presented in this section to turn a decent key into a great one. For more information about using Motion’s keying filters see Keying. Important: When using masks with keying, apply any masks after applying the keyer. 1218 Chapter 20 Using Shapes, Masks, and Paint Strokes Garbage Masks The second step in many keying shots is to create a garbage mask to crop out unwanted objects in the shot that can’t be keyed, such as the edge of a blue screen stage, lighting rigs, or tape that appears in the background. Original image Keyed image You can also use a garbage mask to conceal parts of the background too difficult to key without the loss of foreground detail. To create a garbage mask µ Select a keyed layer and use a mask tool to draw a mask around the foreground subject. Note: The garbage mask must be animated if the subject is moving. By default, the mask is set to Add, and crops out everything outside the mask, while leaving the transparent areas in the mask alone. For more information about using Motion’s keying filters, see Keying. Chapter 20 Using Shapes, Masks, and Paint Strokes 1219 Holdout Masks Sometimes, while pulling a key, you lose part of the image you’re trying to keep. This can happen when the color of the subject’s clothing is too close to the color of the background being keyed out, or when you need to use keying values that are too aggressive. In this example, small parts of the bird’s head and wings are getting removed with the key, rather than just the blue sky. The following images show an example of a key that must be manually masked. The top image is the original shot to be keyed, and the bottom image is the keyed shot. The bird image key leaves black spots or “dirt” on the key. If left uncorrected, the background image would show through the bird in these areas. Original image Keyed image with “dirt” on the key In these cases, you can duplicate the original layer, mask the part of the subject that’s being incorrectly keyed, and composite it over the keyed version to fill it back in. Note: The Spill Suppressor filter can modify the color of the foreground subject as well. If you’re using the Spill Suppressor filter on the keyed layer, you may have to apply the same filter to the holdout mask layer to make sure the color matches. For more information on the Spill Suppressor filter, see Keying. To create a holdout mask 1 Key and mask the foreground subject. For more information about using Motion’s keying filters, see Keying. 2 Duplicate the keyed layer, then move it so it appears above the original layer in the Layers list or Timeline. 3 Mask the area of the foreground that is incorrectly keyed. Make sure that the mask is entirely within the subject being keyed. Note: The holdout mask must be animated if the subject is moving. 4 On the newly duplicated layer, delete the original keying filters. 1220 Chapter 20 Using Shapes, Masks, and Paint Strokes If you’ve used a Spill Suppressor filter, don’t delete it, because it’s probably changing the color of the subject. 5 Feather the edge of the holdout mask you’ve just created, to make sure that it blends in with the object you initially keyed. In the following image, the mask on the bird creates a clean key by removing the “dirt” left by the original key. 6 As an optional step, you can nest the originally keyed layer and the holdout matte you just created inside a dedicated group so you can manipulate the entire subject as a single object. Applying Multiple Keys to a Single Subject In some instances, it may be difficult to key an entire subject with a single keying filter while retaining fine details. For example, uneven lighting or background color might mean that the best settings to key a subject’s hair may not work elsewhere. In such cases, you can use masks to isolate different parts of a subject, and then apply different keying settings to each area. To segment a subject into separate keying zones 1 Create a group and place the layer you’re keying in the new group. 2 Duplicate the layer you’re keying until you have a separate duplicate for each part of the image you want to key separately. 3 Use a mask tool to mask each part of the subject in the duplicate layers. Make sure the duplicate layers overlap, so there are no gaps in the foreground. Note: You might need to animate the overlapping masks if the foreground subject is moving. 4 Apply the relevant keying filter to the isolated parts of the subject, the adjust each filter’s settings. Chapter 20 Using Shapes, Masks, and Paint Strokes 1221 Eventually, you may find you can achieve an optimal key for each part of the subject. Furthermore, with all duplicates nested in a single group, you can continue to manipulate the subject as a single object. Converting Between Shapes and Masks Because masks and shapes are created in similar ways but perform different tasks, there are occasions where you may create a shape and later want to convert it into a mask, or vice versa. Changing shapes to masks and masks to shapes is done by changing the object’s position in the Layers list or by using the Object menu. Note: Masks are not applicable to 3D paint strokes, 3D particle systems or replicators, 3D text objects or unflattened 3D groups. To convert a shape to a mask on such an object, the item must be flattened. Different options are available when converting shapes to masks, depending on the type of object being masked. The following steps apply when converting a shape to a mask on an image-based object (movie or image sequence, images, generator, and so on). To convert a shape to a mask on an image 1 Use any of the shape tools to create a shape (or draw a paint stroke). Note: You can also add a preset shape from Shapes category in the Library. 2 In the Layers list, drag the shape object onto the layer to be masked. The shape is converted into a mask. If the layer to which the mask is applied is not centered in the Canvas, the position of the mask is slightly offset. This is because the position of the converted mask is dependent upon the original position of the shape relative to the center of its parent group. To convert a shape to a mask on a group 1 Use any of the shape tools to create a shape (or draw a paint stroke). 2 In the Layers list, drag the shape onto the group layer and pause, holding down the mouse button. When the drop menu appears, choose Move Mask To Group. To convert a shape to a mask on the enclosing group 1 Use any of the shape tools to create a shape (or draw a paint stroke). 2 In the Layers list, select the shape object and do one of the following: • Drag the shape onto the group layer and pause, holding down the mouse button. When the drop menu appears, choose Move Mask To Group. • Choose Object > Convert Shape to Mask. To convert a shape to a mask on another shape 1 Use any of the shape tools to create a shape (or draw a paint stroke). 1222 Chapter 20 Using Shapes, Masks, and Paint Strokes 2 In the Layers list, drag the shape object onto another shape object and pause, holding down the mouse button. A drop menu appears. 3 Choose Add Mask To Shape. The shape is converted into a mask on the other shape. Note: Spline masks are not applicable to 3D paint strokes. The Local 3D checkbox must be deselected in the Stroke pane of the Shape Inspector for the drop menu to appear. To convert a shape to a mask on a particle emitter or replicator 1 Use any of the shape tools to create a shape (or draw a paint stroke). 2 In the Layers list, drag the shape object onto an emitter or replicator and pause, holding down the mouse button. A drop menu appears. 3 Choose Add Mask To Emitter or Add Mask to Replicator. The shape is converted into a mask on the particle emitter or replicator. Note: The 3D checkbox must be deselected in the Emitter or Replicator Inspector for the drop menu to appear. To convert a shape to a mask on text 1 In the Layers list, select the text layer to mask. 2 In the Layout pane of the Text Inspector, ensure the Flatten checkbox is selected. 3 Use any of the shape tools to create a shape (or draw a paint stroke). 4 In the Layers list, drag the shape object onto a text layer. Special Considerations When Converting Shapes to Masks When you need to convert a shape to a mask, consider the following: • When a shape is converted to a mask and applied to a scaled object, the resulting mask is scaled as well. This may lead to unexpected results. To prevent surprises, set the object to 100% scale or place the object in a new group and apply the mask to the group. • Converting a shape that has been manipulated in 3D into a mask may produce unexpected results. For more information on applying masks to 3D objects, see Masking Objects in a 3D Project. • When a transformed (scaled, rotated, or anchor point-adjusted) shape is converted to a mask, the transforms are not maintained. Chapter 20 Using Shapes, Masks, and Paint Strokes 1223 To convert a mask to a shape µ In the Layers list, select a mask and do one of the following: • Choose Object > Convert To Shape. The shape moves to the bottom of the group. • Drag the mask between two objects in the Layers list. • Drag the mask onto the group layer and pause, holding down the mouse button. When the drop menu appears, choose Move Shape To Group. Manipulating Alpha Channels Using Filters In addition to using shape and image masks to create transparency in layers, there are also filters you can use to manipulate or even replace a layer’s alpha channel. For example, the Keying filters create transparency by generating an alpha channel based on colors or luminance values in that layer. Keying filters are usually used on layers that have no alpha channel information; these filters add a new alpha channel to the layers to which they’re applied. For more information on the use of the keying filters, see Keying. The process of improving a keying effect or of customizing an alpha channel created using shape or image masks may require the use of special filters. Although you can apply any filter to a shape or image mask to modify that mask’s effect, the filters described in this section modify a layer’s entire alpha channel, including the sum of all masks and other filters applied to that layer. 1224 Chapter 20 Using Shapes, Masks, and Paint Strokes For example, if you’ve applied a keying filter, you can use the following filters to modify the resulting alpha channel even though no mask appears for that layer in the Layers list or Timeline. • Channel Blur: This filter, found in the Blur category of the Filters library, lets you selectively blur the alpha channel. You can set the amount of horizontal and vertical blur independently. Original (color channel) Original (alpha channel) Channel Blur (color channel) Channel Blur (alpha channel) • Matte Magic: This filter, found in the Keying subcategory of the Filters library, lets you manipulate various qualities of an alpha channel, shrinking, feathering, and eroding the alpha channel to fine-tune it. For more information, see Matte Magic. Chapter 20 Using Shapes, Masks, and Paint Strokes 1225 Motion includes a robust set of tools for creating projects that display objects in a true three-dimensional space. You can arrange objects in a 3D environment so they intersect and interact with one another. You can also employ cameras and lighting, and apply related effects such as depth of field, shadows, and reflections. This chapter covers the following: • Real-World Coordinates (p. 1227) • 3D Transform Tools (p. 1229) • 3D Workspace and Views (p. 1240) • 2D and 3D Group Intersection (p. 1248) • Cameras (p. 1252) • Lighting (p. 1265) • Shadows (p. 1272) • Reflections (p. 1282) Real-World Coordinates 3D compositing introduces a number of new concepts to the art of motion graphics. At first glance, these concepts might seem daunting. However, because you move around in a real three-dimensional world, you’ll likely find the virtual 3D world of the Motion Canvas intuitively familiar. The position of any object in the real world can be described using a simple coordinate system. For example, you might describe your computer’s position as being four feet across from the door, three feet up from the floor, and five feet in front of the window. In a coordinate system, the three numbers used to describe an object’s position correspond to a coordinate axis. The place where the zero values along each axis meet is called the origin. In this example, the X equals 4, Y equals 3, and Z equals 5. 1227 3D Compositing 21 Coordinates and Object Position in Space The location of an object in Motion can be described in these terms as well. The coordinate system used by Motion specifies the center of the Canvas as 0, 0, 0. Moving an object to the left subtracts from the X value, while moving to the right adds to the X value. Moving an object up adds to the Y value, and moving an object down subtracts from the Y value. Moving an object closer adds to the Z value, while moving further away subtracts from the Z value. The main difference between a 2D scene and a 3D scene is that in a 3D scene, you can change your point of view, so that moving an object up doesn’t always mean increasing its Y Position value. Note: In a new project, the Canvas is oriented with the Z axis pointing straight at you. This orientation preserves the traditional two-dimensional orientation of the X and Y axes, which span the default Canvas from left to right (X) and top to bottom (Y). 3D Conventions There are a few conventions commonly used to discuss and display three-dimensional environments. • Object movement is along an axis. • Object rotation is around an axis. • Each axis is color-coded: X is red, Y is green, and Z is blue. • Positive rotation is counterclockwise around an axis. 1228 Chapter 21 3D Compositing 3D Transform Tools There is no inherent difference between 2D and 3D project files in Motion. At any point, you may decide to start working with groups or layers in 3D. Doing so requires no preplanning on your part; in fact, it’s possible to go back and forth between manipulating objects in 2D and 3D space. This section covers the tools you can use to move objects around in the Canvas. The image in the screenshot above has just been imported into the scene and is positioned at the scene’s origin. Use the 3D Transform tool—located to the right of the 2D transform tools in the toolbar—to move the image. Tip: You can select the 3D Transform tool by pressing Tab when the 2D Select/Transform tool is active (and an object is selected in the Canvas). Pressing Tab again cycles through the various 2D transform tools. To use the 3D Transform tool µ Select the 3D Transform tool in the toolbar (or press Q). Chapter 21 3D Compositing 1229 Two things happen immediately when you select the 3D Transform tool. The onscreen controls change, and the object’s HUD displays additional 3D transform controls. Drag to move along X and Z axes. Drag to move along X and Y axes. Choose an axis type. Drag to move along Z axis. 3D Transform Onscreen Controls When you select the 3D Transform tool, three colored arrows appear in the Canvas near the center of the image. Each arrow corresponds to one of the three coordinate axes. In the default view, the Z axis points directly toward you, so only the tip of the blue Z arrow is visible. Dragging an arrow moves the image along an axis. Y-axis drag handle X-axis drag handle Z-axis drag handle To move an object using the onscreen controls 1 Select the object to move. 2 Drag a colored arrow. 1230 Chapter 21 3D Compositing When dragging, the active arrow turns yellow and the status bar above the Canvas displays the current coordinates of the object as well as the distance the object has moved. Coordinates are given in the form of X, Y, and Z. Near the three colored arrows are three small circles. Z-axis rotation handle X-axis rotation handle Y-axis rotation handle These are rotation handles. Placing the pointer over a circle invokes a rotation ring for the axis. To rotate an object around a single axis using the onscreen controls 1 Select the object to rotate. 2 Move the pointer to the rotation handle (small circle) corresponding to an axis of rotation. The rotation ring appears. 3 Drag the ring to rotate the object. Chapter 21 3D Compositing 1231 The status bar displays the current Rotation values as well as the amount the object is rotated. To rotate an object around all axes using the onscreen controls 1 Select the object to rotate. 2 Place the pointer on a rotation handle, then hold down the Command key. All three rotation rings appear. 3 While continuing to hold down the Command key, drag anywhere inside the rings to rotate the object. The status bar displays the absolute rotation values as well as the delta (amount of change) in rotation. Important: Rotation performed with the 2D Select/Transform tool is only around the Z axis. Rotation using 2D Select/Transform tool Rotation using 3D Transform tool around Z-axis 1232 Chapter 21 3D Compositing 3D Transform Onscreen Controls Display It is possible to display a subset of the 3D transform onscreen controls. • Press the Comma key (,) to display the axis arrows (but not the rotation handles or scale handles). • Press the Period key (.) to display the rotation handles (but not the axis arrows or scale handles). • Press the Slash key (/) to display the scale handles (but not the axis arrows or rotation handles). When you press any key a second time, the display switches back to the default, with all three of the onscreen controls visible. 3D Transform HUD Controls In addition to the onscreen controls, the HUD provides another method of transforming objects in 3D space, using a set of graphical transform controls. Drag to move along X and Z axes. Drag to move along X and Y axes. Choose an axis type. Drag to move along Z axis. Move: Three controls in the Move section of the HUD let you drag the selected object in one or more axes at once. Drag inside a Move control to change the relevant parameter values of the object in the Canvas. • Move Z: Drag here to move the selected object along the Z axis. Dragging to the right decreases the Z value (moving the object further away), and dragging to the left increases the Z value (bringing the object closer). Hold down the Command key when dragging to simultaneously scale the object as it is moved, preserving its size relative to the camera. Chapter 21 3D Compositing 1233 • Move XY: Drag here to move the object along the X and Y axes. Dragging right or left increases or decreases the X value. Dragging up or down increases or decreases the Y value. Using this control is identical to draggin a 2D object in the Canvas. Hold down the Command key when dragging to constrain movement to the initial direction of the drag. • Move XZ: Drag here to move the object along the X and Z axes. Dragging right or left increases or decreases the value of X. Dragging up or down increases or decreases the value of Z. Hold down the Command key when dragging to constrain movement to the initial direction of the drag. Tip: As in the Inspector, holding down the Shift key while you drag in the HUD makes larger changes. Holding down the Option key while you drag makes smaller changes. Rotate and Scale: Two additional drag controls in the HUD let you rotate and scale the selected object in the Canvas: • Rotate XYZ: Drag here to rotate the object around all axes. Starting at the origin, dragging up and down rotates the object around the X axis. Dragging to the left and right rotates the object around the Y axis. To constrain rotation to the Z axis, hold down the Command key while dragging. • Scale: Drag here to uniformly scale the selected object in the Canvas. Dragging to the right or up (or both) increases the Scale value. Dragging to the left or down (or both) decreases the Scale value. To constrain scaling to the axis corresponding to the initial direction of the drag, hold down the Command key while dragging. Adjust Around: The Adjust Around pop-up menu, located under the Move, Rotate, and Scale controls in the HUD, allows you to select which relative coordinate space is used for transforms. The Adjust Around pop-up menu has three options: • Local Axis: The default, this option orients the onscreen transform controls to the object’s local axes. • World Axis: This option orients the onscreen transform controls to the axes of the 3D grid in the Canvas. • View Axis: This option orients the onscreen transform controls to the view space of the current view. The Z axis is aligned along the view’s line of sight. For more information on views, see Views. 1234 Chapter 21 3D Compositing Relative Coordinates To better understand the concept of relative coordinates, think of a system of satellites, like the earth, the moon, and the sun. The moon’s parent is the earth, and the earth’s parent is the sun. Usually, when considering these three bodies, the moon’s position is described in terms of its position relative to the earth (the moon’s parent), and the earth’s position is described relative to the sun (the earth’s parent). In Motion, an object’s position and orientation are always relative to its parent. When you add a group to a Motion project, that group is created at the origin coordinates of its parent. In the case of a root-level group (a group that is not nested inside other groups in the Layers list), the parent is the project itself. An object placed inside a group has its position described relative to its parent: the group. Group position set to 100,100,100 In the example above, a group is positioned at X, Y, and Z coordinates of 100, 100, and 100, respectively. The group is located 100 pixels away from its parent’s origin on all axes (the parent in this case being the project itself). The image inside the group is positioned at 0, 0, 0. Because the image’s position is relative to its parent, the group, it shares its parent’s origin and has an apparent position in the world of 100, 100, 100. Chapter 21 3D Compositing 1235 Moving the image to a position of 50, 50, 50 displaces it by 50 pixels from the group’s origin in all axes. You can see in the image below that the porcupine is now exceeding the visible area of the Canvas. Although the image’s apparent position relative to the world is 150, 150, 150, its Position values in the Inspector are 50, 50, 50 because its position is always relative to its parent. Object position set to 50, 50, 50 Rotation values are also relative to an object’s parent. Group rotation set to 45° Object rotation set to -90° 1236 Chapter 21 3D Compositing Important: World and view transforms are limited to the HUD and onscreen controls; all transforms made in the Inspector are relative to an object’s parent’s space. Layer Order and Depth Order When compositing in 2D, the Layers list shows the layer order, which determines the stacking order of objects in the Canvas. Objects higher up in the Layers list appear in the Canvas on top of objects lower than them in the Layers list. Important: The children of 2D groups are composited in layer order. In the following example, the Layers list shows the Blue A group is above the Red B group, and the Canvas displays the Blue object above the Red one. If you move Group A below Group B in the Layers list, Group B is rendered on top of Group A. Chapter 21 3D Compositing 1237 The Layers list also shows object relationships in terms of parenting. The parent-child relationship is displayed in the Layers list through the use of indenting and disclosure triangles. Parent of B and Red Box layers Parent of A and Blue box layers Children of Blue A group Children of Red B group The Layers list is not the only indicator of order when considering objects in 3D. When depth-sorted, an object can be at the bottom of the Layers list and yet appear to be on top of everything else in the Canvas, because of the object’s position relative to the current camera. The most common way to adjust depth order is to change the Z position of a layer or group. Important: The children of 3D groups are composited in depth order by default. With the 3D groups above, objects are composited in depth order; their position in the Layers list does not correlate to their position in 3D space relative to the camera. 1238 Chapter 21 3D Compositing In the above example, the Blue A group is above the Red A group in the Layers list but it appears behind the Red A group in the Canvas because it is depth-sorted. The same principle applies to the Blue B group and the Red B group. 3D Transformations in 2D Groups All objects have 3D transformations available, even when in 2D groups. Objects can be rotated around any axis and moved along any axis. Objects in 2D groups are not depth-sorted, and cannot intersect, regardless of their position in 3D space. In the image below, groups A and B are positioned at the same point in 3D space. But because they are layer-ordered, group A does not intersect with group B. However, when you change the parent group to 3D, groups A and B intersect, as shown in the image below. Note: If two groups are coplanar (occupy the same plane), they are composited in layer order, regardless of whether the objects’ parent is a 2D group or 3D group. In a 2D composite, all objects are coplanar. Chapter 21 3D Compositing 1239 3D Workspace and Views In a 3D workspace, everything is seen from the viewpoint of a camera. The default views presented in the 3D workspace are reference cameras that can be used and manipulated to help place and animate objects but are not used for rendering output. To render from one of the camera views, you must create a scene camera. For more information on cameras, see Cameras. Views There are several view layouts, with each layout consisting of an arrangement of viewports. Each viewport displays the scene from the point of view of a camera. Reference camera views have a specific default position and orientation. There are two types of reference cameras: • Orthographic • Perspective An orthographic camera views the scene by looking straight down one of the world axes: X, Y, or Z. The default orthographic cameras do not appear in the Layers list, Timeline, or Canvas. The Front and Back cameras look straight down the Z axis. The Top and Bottom cameras look straight down the Y axis. The Left and Right cameras look straight down the X axis. Orthogonal camera view with no rotation 1240 Chapter 21 3D Compositing Orthographic cameras do not show perspective. Perspective cameras—and scene cameras that you add to a project—distort the view the way a real-world camera would. Object rotated in orthogonal camera view Object rotated in perspective camera view To access camera views and camera controls, add a scene camera to your project. To add a scene camera to a Motion project 1 Choose Object > New Camera (or press Command-Option-C). A camera object is added to the Layers list, the Timeline, and the Canvas (represented there by a wireframe icon). The 3D Transform tool in the toolbar becomes active, the Camera HUD appears (if it isn’t visible, press F7), and the Camera pane in the Inspector becomes available. If you add a camera to a project that contains no existing 3D groups, the following dialog appears: 2 Click Keep as 2D or Switch to 3D. Chapter 21 3D Compositing 1241 After you add a camera to a project, the Camera menu becomes available in the upper-left corner of the Canvas. 3D Canvas Overlays There are six 3D overlays that can appear in the Canvas: the Camera pop-up menu, the 3D View tools, the Inset view, the 3D grid, the 3D Compass, and the 3D scene icons. You can turn the display of overlays on or off. Camera menu 3D grid Inset view 3D Compass 3D View tools 3D scene icons (Camera, light) To control the appearance of 3D overlays Do one of the following: µ Choose View > 3D Overlays, then choose the type of 3D overlay to show or hide. 1242 Chapter 21 3D Compositing µ From the View pop-up menu in the status bar, choose the type of 3D overlay to show or hide. Camera Menu The Camera pop-up menu, located in the upper-left corner of the Canvas, lists the active camera view. Choose from a list of reference cameras and scene cameras. The menu also contains several view-related commands. The Camera menu is divided into three sections: • The top section allows you to select the active camera as well as any other scene cameras you have added to the project. If a scene contains more than one camera, the topmost camera in the Layers list at the current frame in the Timeline is the active camera. For more information on scene cameras, see Cameras. • The middle section allows you to select a default reference camera: Perspective, Front, Back, Left, Right, Top, Bottom. • The bottom section allows access to five frequently used commands: Reset View, Select Active Camera, Fit Objects Into View, Frame Objects, and Focus on Object. For details on these commands, see the 3D View section in View Menu. 3D View Tools The 3D View tools control reference and scene cameras. The scene camera indicator appears at the left of the 3D View tools when a scene camera is the active camera. Scene camera indicator Orbit tool Dolly tool Pan tool There are three 3D View tools: • Pan: Drag in this box to move the camera along the X and Y axes relative to the current view. • Orbit: Drag in this box to orbit the camera around the selected scene object. If nothing is selected, the camera orbits around its focal plane. For more information on the camera focal plane, see Camera Controls. Orbit can affect X, Y, and Z Position values, as well as X and Y Rotation values. Chapter 21 3D Compositing 1243 Note: If you use the orbit control to change an orthogonal reference camera, an asterisk appears next to the view’s name in the Camera menu, indicating that the view is no longer a true orthogonal view. • Dolly: Drag in this box to dolly the camera, moving it along the Z axis relative to the current view. Tip: Double-clicking a 3D View tool resets all parameters that can be affected by the tool. 3D View Tool Shortcuts It is possible to use the Pan, Orbit, and Dolly tools with keyboard commands and a three-button mouse: • Pan: Drag in the Canvas while holding down the Option key and the right mouse button. • Orbit: Drag in the Canvas while holding down the Command key and the right mouse button. • Dolly: Drag in the Canvas while holding down the Command key, the Option key, and the right mouse button. 3D Compass Located in the lower-left corner of the Canvas, the 3D Compass acts as an orientation and shortcut device. It has active and passive states, depending on whether the pointer is positioned over it. In its passive state, it displays the orientation of the three world axes (X, Y, and Z). In its active state, the compass presents color-coded shortcuts to activate the reference (orthogonal and perspective) cameras. 3D Compass in passive state 3D Compass in active state To select a reference camera view using the 3D Compass 1 Position the pointer over the compass. The compass changes to its active state, displaying a labeled icon for each reference camera view. 1244 Chapter 21 3D Compositing 2 Click the icon representing the camera to activate. The view in the Canvas updates to the selected reference camera view. To select a scene camera view using the 3D Compass 1 Position the pointer over the 3D Compass. The compass changes to its active state. 2 Control-click the 3D Compass, then choose a scene camera from the shortcut menu. The view in the Canvas changes to the selected scene camera view. Note: You can also choose a reference camera view from the 3D Compass shortcut menu. Inset View When you move an object in a 3D project, an Inset view appears in the lower-right corner of the Canvas, showing the scene from a different camera’s point of view. If you are viewing the scene through the active camera, the Inset view shows the Perspective camera’s point of view. If you are viewing the scene through any other camera, the Inset view shows the active camera. Use the Inset view to see the results of changes that you make in orthogonal views. Use Motion Preferences to set the Inset view’s size and when it appears in the Canvas. For more information on Inset view properties, see 3D Pane. Chapter 21 3D Compositing 1245 3D Grid The 3D grid shows the ground plane of the 3D world. The ground plane is, as the name states, a plane attached to the ground of the scene, where Y equals 0. The ground plane represents the dividing line between up and down, that is, between positive Y values and negative Y values. It is centered on 0, 0, 0. 3D Scene Icons 3D scene icons are the onscreen representations of cameras, lights, and edge-on lines. An edge-on line is drawn when an object’s edge faces the camera—which normally results in an invisible object. This allows you to select objects that would otherwise be invisible. 1246 Chapter 21 3D Compositing Note: No 3D scene icons appear in exported images or movie clips. Camera Edge-on line indicator Camera’s angle of view Light Tip: Double-click a camera scene icon to select it and change the current view to that camera. Viewport Layouts Motion allows you to have multiple viewport windows active at the same time in the Canvas to help animate and position objects in 3D space. A pop-up menu, located in the status bar just above the 3D View tools, lets you choose from seven viewport layouts. Each layout is represented by an icon in the pop-up menu: • Single: The default value, displays a single viewport window in the Canvas. • Two-up, side by side: Displays two viewport windows in the Canvas, one next to the other. • Two-up, top and bottom: Displays two viewport windows in the Canvas, one on top of the other. Chapter 21 3D Compositing 1247 • Three-up, large window below: Displays three viewport windows, two next to each other on top and a larger window below. • Three-up, large window right: Displays three viewport windows, two stacked on the left side and a larger window spanning the right side. • Four-up, large window right: Displays four viewport windows, three stacked on the left side and one larger window on the right side. • Four-up: Displays four viewport windows, all the same size. To open multiple viewport windows in the Canvas µ Choose a layout from the pop-up menu at the far-right side of the status bar. The Canvas displays the layout you choose. When working with multiple viewports, the last view you clicked in is the active view. The active viewport is indicated by a yellow border. Only the active viewport displays onscreen controls. The lower-left view is active. Note: The active viewport in the Canvas is not the same as the Active Camera. For more information, see Active Camera. 2D and 3D Group Intersection The 3D group type adds a level of flexibility to your projects, but also creates complex interactions between group types. Groups can be 2D or 3D, and you can change a group’s type at any time. 1248 Chapter 21 3D Compositing To change a group’s 2D/3D type µ In the Layers list or Timeline, select the group to change, then do one of the following: • Choose Object > 3D Group (or press Control-D). • Click the 2D/3D icon in the right side of the Layers list. 2D group icon 3D group icon • From the Type pop-up menu in the Group Inspector, choose 2D or 3D. Root-Level Behavior At the root level of the project, 2D groups behave differently than when they are nested inside 3D groups. (For more information about root-level groups, see Relative Coordinates.) 2D groups at the root level are locked to the camera, even if the camera is animated. 2D groups at the top of the Layers list are rendered in the foreground, and 2D groups at the bottom of the Layers list are rendered in the background. Adjacent root-level 3D groups can intersect based on depth order. In the example above, the two gray balls in the 2D “Foreground” layer are composited on top of the rest of the scene. The 2D “Background” layer is composited beneath the rest of the scene. “Group A” and “Group B” intersect because they are 3D groups, but neither of them can intersect with the 2D root-level groups. Chapter 21 3D Compositing 1249 2D and 3D Group Interaction Although 2D and 3D groups share a lot of common properties, there are distinct differences in how they and their children behave and interact with other objects in a project. 2D and 3D groups can be parents or children of each other; there are no restrictions on mixing group types. Important: Some operations, as well as the application of some filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. Rasterization affects 2D and 3D groups in different ways. For more information, see Groups and Rasterization. Group Inspector In the Inspector, the Group pane appears when a group is the selected object. The Group pane contains the Type parameter, a pop-up menu that allows you to switch a group between 2D and 3D mode. A 2D group has different available parameters than a 3D group. When the Type parameter is set to 3D, the Flatten and Layer Order parameters become available. When the Flatten checkbox is selected, the elements in the 3D group are flattened into a two-dimensional plane. When the Layer Order checkbox is selected, the group’s children are sorted by their order in the Layers list rather than depth order (position along the Z axis). For more information, see Layer Order and Depth Order. When the Type parameter is set to 2D, Fixed Resolution parameters become available, allowing you to manually define the size of a group. By default, Fixed Resolution is disabled and the size of the group is determined by the layers in that group. For more information, see Fixing the Size of a Group. Note: When selected, Fixed Resolution crops the group to the size specified in the Fixed Width and Fixed Height parameters, around the anchor point of the group. 2D Group Properties A 2D group has the following properties: • Its children are composited in layer order. 1250 Chapter 21 3D Compositing • Filters are applied to the group in local space—that is, flat to the image. Checkerboard in 2D group with Twirl filter applied • When lights are used, the group is lit as a single object; its children are not lit individually. Note: 2D groups at the root level are not affected by lights. • Because it is flat, a 2D group has Crop, Drop Shadow, and Four Corner parameters. • It can have a fixed resolution. 3D Group Properties A 3D group has the following properties: • Its children are composited in depth order (according to their position along the Z axis). • Filters are applied to the group in view space. In other words, the filter affects the group as if it was applied to the lens of the camera viewing the group. Checkerboard in 3D group with Twirl filter applied from three different angles • When lights are used, the group’s children are lit individually. • Only a 3D group with the Flatten parameter enabled has the Crop, Drop Shadow, and Four Corner parameters. Chapter 21 3D Compositing 1251 Working with Objects Inside 2D Groups and Flattened 3D Groups You can use the Isolate command to align the active view with the axis of a 2D group or flattened 3D group. Doing so facilitates making adjustments to objects inside the group. For more information on the Isolate command, see Isolate. If you cannot find an object in your project, you can locate it by resetting its Position parameter to 0, 0, 0. This centers the object in the flat group. When moving an object along its Z axis inside a flat group—which includes 2D groups and flattened 3D groups—the object appears to grow larger or smaller rather than move closer to or further away from the camera. Cameras In 3D mode, anything you see in the Canvas represents the viewpoint of a camera, either a default reference camera or a scene camera that you create. You can create cameras to look at your scene from different points of view. You can place, animate, and apply behaviors to cameras in your scene. Creating multiple cameras lets you make different cameras active at different times, allowing you to “cut to” different views over the course of the project. Creating a Scene Camera The scene cameras that you create are used for rendering output. Scene cameras appear in the Canvas as wireframe camera icons and as objects in the Layers list and Timeline. To add a scene camera to a Motion project µ Choose Object > New Camera (or press Command-Option-C). A camera object is added to the Layers list, the Timeline, and the Canvas (represented by a wireframe icon). The 3D Transform tool in the toolbar becomes active, the Camera HUD appears (if it isn’t visible, press F7), and the Camera controls in the Inspector become available. 1252 Chapter 21 3D Compositing Active Camera If a scene contains more than one camera, the topmost camera in the Layers list and in the Timeline at the current frame is the active camera. Although the active camera is the default camera used for export, you can select any scene camera to export. Camera 3 is active at playhead position. Note: The active camera is not the same as the active view. The active view is the last viewport you clicked in when working with multiple viewports. Camera Controls You can modify a scene camera’s properties via the Camera HUD or the Camera and Properties panes in the Inspector. Parameters in the Inspector Camera Type: A pop-up menu that sets the type of camera used. There are two options: Framing (the default value) and Viewpoint. A Framing camera has its origin at the focal plane. The focal plane of a camera is a plane located at a distance equal to the camera’s focal distance along its local Z axis (or line of sight) and oriented perpendicular to the camera’s local Z axis. A Viewpoint camera has its origin at its center of projection. Framing camera Camera’s focal plane Camera’s angle of view Viewpoint camera origin and center of projection Framing camera origin Camera’s angle of view Chapter 21 3D Compositing 1253 Tip: The position of a Framing camera’s origin makes it useful for orbiting moves. Rotating the camera causes it to orbit, whereas rotating a Viewpoint camera causes it to pivot—also known as panning (horizontal) or tilting (vertical). Angle of View: A slider that sets the angle of view of the camera, which is the number of degrees in which the camera sees. Values range from 0 to 180 degrees. Note: When you animate the Angle of View parameter on a Framing camera, the result is an opposing dolly effect. An opposing dolly zooms in the opposite direction that the camera moves. When you animate the Angle of View parameter on a Viewpoint camera, the result is a regular camera zoom. Angle of View = 45 deg Angle of View = 80 deg Framing camera Near Plane: A slider that sets the distance where the camera begins to see objects. Objects closer to the camera than this distance are not rendered from this camera’s point of view. Far Plane: A slider that sets the distance where the camera ceases to see objects. Objects further from the camera than this distance are not rendered from this camera’s point of view. Near Fade: A slider that sets the softness factor for the near plane. The softness factor sets a boundary range over which near objects fade in. Far Fade: A slider that sets the softness factor for the far plane. The softness factor sets a boundary range over which far objects fade out. Note: Camera depth of field parameters are also contained in this window. For a complete description of these controls see Depth of Field. HUD Controls The Camera HUD contains the Camera Type, Angle of View, Focal Length, and DOF Blur Amount parameters, which are also available in the Inspector. The Camera HUD also contains 3D transform controls. For more information, see 3D Transform HUD Controls. 1254 Chapter 21 3D Compositing Scaling, Positioning, and Animating Cameras Various controls allow you to scale, position, walk, and animate cameras. After you position cameras in a project, you can select a single camera view using the Isolate command. For more information on using the Isolate command, see Isolate. Scaling a Camera You can use the Scale parameter in the Properties pane of the Inspector to scale what a camera sees. Changing the Scale value does not affect a camera’s Angle of View parameter. Changing the Scale value only affects Framing cameras. About Camera Scaling To better understand camera scaling, imagine if you shrank down to only a few inches tall. Although the world around you hasn’t changed size, it would appear to you to be much larger. Similarly, if you grew to 50 feet tall, the world would seem smaller, even though it hasn’t changed. Scaling a camera up or down has the same effect. Positioning Cameras Cameras share the same transform properties as any other object in Motion and can be positioned in all the same ways: by using the onscreen controls and by editing parameters in the HUD or Inspector. For more information on the onscreen controls, see 3D View Tools. Additionally, cameras can be positioned using the Walk 3D View tool. For more information, see Walk 3D View. Note: As a convenience, you can move an orthogonal camera view to display the scene from a position and orientation other than its default. Walk 3D View The Walk 3D View tool, located in the toolbar, allows you to position the camera in 3D space as you would in a video game, using a keyboard-and-mouse navigation method. If you’re using a scene camera, you can also record the movement you create using the Walk 3D View tool, by creating keyframes. For more information on keyframing, see Keyframing Methods. Note: The Walk 3D View tool is available only when Active Camera, Camera, or Perspective is selected from the Camera menu. For more information on the Camera menu, see Camera Menu. To use the Walk 3D View tool 1 Select the Walk 3D View tool in the toolbar. Chapter 21 3D Compositing 1255 Note: If the tool is not visible, press and hold the Pan or Zoom tool to open the pop-up menu. The pointer changes to indicate that the Walk 3D View tool is active. 2 Use the Up Arrow, Down Arrow, Right Arrow, and Left Arrow keys to move the camera in 3D space; hold down the Option key while using the arrow keys to move the camera more slowly. You can also drag in the Canvas to orient the camera. Animating Cameras Cameras can be animated in the Canvas by the same means used to animate any other object in a project. Cameras can also be animated through the use of behaviors, including special Camera behaviors. For more information on Camera behaviors, see Camera Behaviors. For more information on animating with keyframes, see Keyframes and Curves. Isolate The Isolate command (and Isolate button) temporarily aligns the current view with the selected object and hides all other objects in the scene, facilitating access to distant or obscured objects. The Isolate command is not intended for creating a camera view to be rendered or exported, but rather to temporarily restrict your view to a single object so you can modify or manipulate that object more effectively. Isolate button To isolate an object 1 Select the object to isolate in the Canvas, Layers list, or Timeline. 2 Do one of the following: • Choose Object > Isolate (or press Control-I). • In the Layers list or Timeline, click the Isolate button. 1256 Chapter 21 3D Compositing The current view changes to align itself with the selected object, and all other objects in the scene are hidden. Object in the Canvas Object after isolation When an object is isolated, a temporary camera is created and listed in the Camera menu. The camera shares its name with that of the isolated object. To exit the isolated view Do one of the following: µ Choose Object > Isolate (or press Control-I). µ In the Layers list or Timeline, click the Isolate button. µ Choose a different camera from the Camera menu. Using Multiple Views with the Isolate Command You can isolate as many objects as you have views. It is a common workflow to edit an object in an isolated view while looking at the results through a scene camera in another view. After an object is isolated in a view, you can activate another viewport and isolate a different object. Drag and Drop onto the Canvas Dragging and dropping an object onto the Canvas adds the object to the scene at the focal plane of the current camera. Dragging an object into the Layers list or clicking the Apply button in the preview area of the File Browser positions the object at 0, 0, 0. Using Cameras to Set Up Useful Working Views When building a 3D project, it can be useful to position cameras to examine your project’s layout from different viewpoints. Rather than repeatedly moving the Perspective camera, you can add scene cameras to use as spatial bookmarks. You won’t want to use these cameras during export, so be sure to disable them before rendering. Chapter 21 3D Compositing 1257 Depth of Field In the real world, cameras have a limited range of focus. Objects within that range appear sharp, and the further outside that range an object is, the blurrier it appears. This effect is used by camera operators to help limit which part of a scene the viewer pays attention to. Motion allows you to simulate that phenomenon, thereby increasing the sense of depth in a 3D scene. Every camera in Motion has a focus offset that determines the precise location of perfect focus. Stretching away from that point in either direction are near and far focus points, which determine the range of the depth of field. Focus offset Depth of field Note: Some complex objects are not affected by depth-of-field settings. These objects include local 3D text, paint, particles, and replicators. The objects in these groups are likely spread out along the Z axis, but the camera cannot measure their relative depth and thus cannot accurately render depth of field. 1258 Chapter 21 3D Compositing Depth of Field Controls Depth of Field settings are found in the Camera pane of the Inspector. The Depth of Field controls allow you to set a range of focus by changing the Near Focus and Far Focus parameters. Objects outside that range are blurred. You can also modify the type and amount of blur used to render the out-of-focus effect. DOF Blur Amount: A slider to control the maximum amount of blur applied to out-of-focus objects. Focus Offset: A slider to set the distance from the camera where objects are in perfect focus. Near Focus: A slider to set the nearest point of focus, measured in pixels as an offset from the focal distance. Far Focus: A slider to set the farthest point of focus, measured in pixels as an offset from the focal distance. Infinite Focus: A checkbox that sets the far focus to infinity, overriding the setting chosen in the Far Focus slider. Filter: A pop-up menu to set the type of blur algorithm used to render the out-of-focus areas. Choices include Gaussian or Defocus. The Defocus setting renders a more realistic effect, but may impact performance. Tip: For best results, use Gaussian when setting up a scene, and Defocus for final output. Filter Shape: When the Filter pop-up menu is set to Defocus, this pop-up menu lets you choose between a disk-shaped, or polygon-shaped render kernel. Different shapes produce subtly different blur patterns simulating different types of camera lenses. Sides: When the Filter Shape pop-up menu is set to Polygon, this slider sets the number of sides in the polygon. Depth: A pop-up menu that sets the depth to Radial or Planar. Although radial typically exhibits more realistic results, there are some cases where it may look artificial. These include cases where the camera is set to a high DOF Blur Amount and/or the object is close to the edge of the frame, the object is very large, the object is rotated, and other similar instances. In these cases, switching to Planar may produce improved results. Rendering Depth of Field Effects When depth of field is employed, playback performance may be significantly impacted. To alleviate this, you can disable the effects of depth of field settings while working on other aspects of your project. To enable/disable depth of field effects µ From the Render pop-up menu in the status bar, select Depth of Field (or press Option-Control-D). When a check mark is visible next to the menu item, the effects are rendered. When no check mark is visible, all objects remain in focus. Chapter 21 3D Compositing 1259 To turn off depth of field in the Inspector µ Select the camera in the Layers list or Timeline layers list, then set the DOF Blur Amount value (in the Depth of Field parameters) to 0 in the Camera Inspector. Camera Behaviors Although most types of behaviors in Motion can be applied to cameras, there is an additional set of behaviors specifically designed to be applied to a camera in a 3D project. These Camera behaviors create common camera moves such as dolly moves, panning, and zooming without keyframing. To add a Camera behavior 1 Select a scene camera in the Layers list, Timeline, or Canvas. 2 In the Add Behavior pop-up menu in the toolbar, choose Camera, then choose an item from the submenu. There are six camera-specific behaviors: Dolly, Focus, Framing, Sweep, Zoom In/Out, and Zoom Layer. These behaviors are applied to a camera object. Dolly Moves the camera a specified distance along the camera’s Z axis. Parameters in the Inspector Distance: A slider that sets the distance of the dolly movement. Speed: A pop-up menu that sets the type of interpolation used for the movement. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. HUD Controls The HUD contains the same controls as the Inspector. Focus Animates the camera’s Focus Offset parameter to focus on a target object. For more information on camera focus settings, see Depth of Field. Tip: Use this behavior to perform a rack-focus effect during a scene. Parameters in the Inspector Target: An image well to specify the object upon which the camera will focus. Drag an object from the Layers list into the well. Transition: A slider to set how long it takes for the camera to reach the focus position, measured as a percentage of the behavior’s duration. Speed: A pop-up menu that sets the type of interpolation used for the movement. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. HUD Controls The HUD contains the same controls as the Inspector. 1260 Chapter 21 3D Compositing Framing Animates the camera along a path to position it in front of a selected object. You can control how the object fits into the frame at the ending position, and you can control the shape of the path to affect the amount of bend or curvature, as well as the apex of such a curved path. Other parameters allow you to customize the camera’s orientation along the path, the speed at which it travels, and at what point it begins orienting towards the target object. The Framing behavior has onscreen controls to allow you to manipulate the path and ending position in the Canvas. For more information on using the Framing behavior’s onscreen controls, see Framing Behavior Onscreen Controls. Tip: Multiple framing behaviors can be arranged consecutively to move a camera from one object to another over the course of a scene. Warning: Applying a Framing behavior before or after a Basic Motion behavior, such as Motion Path or Throw, can create unexpected results. These behaviors can continue to affect the object even after the behavior ends. For example, If a Framing behavior is applied after a Motion Path, the residual effect of the Motion Path is combined with the path generated by the Framing behavior, resulting in the target object being framed improperly. For more about Basic Motion behaviors, see Basic Motion Behaviors. Parameters in the Inspector Target: An image well to specify the object upon which the camera is framed. Target Face: A pop-up menu listing the primary axes: Right (+x), Left (–x), Top (+y), Bottom (–y), Front (+z), and Back (–z), to specify which face of the target to frame. Up Vector: A pop-up menu providing a constraint for the camera to keep it the right way up. The pop-up menu offers the following choices: Auto, Target +X, Target –X, Target +Y, Target –Y, Target +Z, Target –Z, World +X, World –X, World +Y, World –Y, World +Z, World –Z. Auto tries to guess which axis should be pointing up, and the other choices allow the user to specify an axis. Framing: A pop-up menu to choose how the target should be framed. The menu choices include: • Fit Horizontally: Positions the camera so the full width of the target fits in the width of the frame. • Fit Vertically: Positions the camera so the full height of the target fits in the height of the frame. • Fit Both: Positions the camera so both width and height of the target fit in the frame. Chapter 21 3D Compositing 1261 • Simple Fit: Positions the camera so both width and height of the project fit in the frame. If the target object is larger or smaller than the project dimensions, it may not properly fill the frame. • Custom Fit: This option appears when the Framing Offset parameter is manipulated manually. Framing Offset: Three value sliders (X, Y, and, when expanded, Z) to offset (in pixels) the point on the target that is centered, relative to the camera. This allows you to target a point other than the center of the object. The Z slider moves the camera nearer to or farther from the target. Offset Path Apex: A slider to set the position along the path (from the original position to the framing position) where the bend (if any) occurs if the user chooses to offset the path. It is expressed as a value between 0 and 1 (0 being at the start of the path, 1 at the end, and 0.5 being halfway along the path). Path Offset: Three value sliders (X, Y, and when expanded, Z) to offset the camera’s position from the path, measured in pixels. Orientation: A pop-up menu to set whether the camera is oriented towards the target at every frame (Orient to Current) or oriented towards the target at its final position (Orient to Final). Position Transition Time: A slider to set how long it takes the camera to reach the framing position, measured as a percentage of the behavior’s duration. Rotation Transition Time: A slider to set how long it takes the camera to reach the framing orientation, measured as a percentage of the behavior’s duration. Transition: A pop-up menu listing choices for the speed of the transition. Choices include Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. Ease Out Time: A slider to set the percentage of the behavior’s duration when the ease-out effect starts. The ease out ramps down the behavior’s effect until the end of the behavior. Ease Out Curve: A slider that sets the rate of the ease out. HUD Controls The HUD contains a subset of the controls in the Inspector. 1262 Chapter 21 3D Compositing Framing Behavior Onscreen Controls The Framing behavior has onscreen controls that allow you to manipulate the behavior settings in the Canvas. Framing Offset control Offset Path Apex Camera motion path (created by Framing behavior) Path Offset control When a Framing behavior is applied and selected, The controls in the Canvas allow you to create a custom framing size and shape, and to visually adjust the Framing Offset and the Offset Path Apex. To create a custom framing size and shape µ With the Framing behavior selected in the Layers list or Timeline, click any corner of the white framing control in the Canvas. To adjust the Offset Path Apex µ With the Framing behavior selected in the Layers list or Timeline, drag the small white box along the diagonal white line to reposition the apex. To adjust the Framing Offset µ With the Framing behavior selected in the Layers list or Timeline, drag the onscreen control or any colored arrow. Sweep Pivots the camera across a specified arc. Parameters in the Inspector Start: A dial that sets the camera’s starting angle relative to its current orientation. A nonzero value causes the camera to jump to this value at the start of the behavior. Chapter 21 3D Compositing 1263 End: A dial that sets the camera’s final angle relative to its Start parameter value. Speed: A pop-up menu that sets the type of interpolation used for the rotation. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. Axis: A pop-up menu that sets the axis around which the sweep occurs. Value can be set to Tilt X, Swivel Y, or Roll Z. HUD Controls The HUD contains the same controls as the Inspector. Zoom In/Out Animates the camera’s Angle of View parameter. Parameters in the Inspector Zoom: A slider that sets a proportional value to modify the camera’s Angle of View parameter. For more information about the Angle of View parameter, see Camera Controls. Speed: A pop-up menu that sets the type of interpolation for the movement. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. HUD Controls The HUD contains the same controls as the Inspector. Zoom Layer Moves a camera to the position of a target object’s anchor point. When the camera reaches the object’s anchor point, the angle of view changes while offsetting the camera’s position based on the Zoom parameter. (This parameter is set to 0 by default so no animation of the Angle of View occurs.) This behavior also allows you to animate the camera’s Angle of View during the camera’s movement, based on the behavior’s Transition value. For more information about the Angle of View parameter, see Camera Controls. Parameters in the Inspector Object: An image well to set the target of the camera’s movement. Drag an object from the Layers list into the well. Transition: A slider that determines how far into the behavior the camera stops moving and the camera’s Angle of View parameter begins to animate instead. If Transition is set to 50% in a Zoom Layer behavior that has a length of 300 frames, the camera move takes 150 frames to arrive at the position of the target object and then stops moving for the duration of the behavior, and the camera’s Angle of View parameter animates over the rest of the duration. If Transition is set to 100%, the camera move takes the full 300 frames to arrive at the position of the target object, and the camera’s angle of view does not animate. If the Zoom Layer behavior’s duration is 100 frames and Transition is set to 50%, the camera move takes 50 frames to arrive at the position of the target object. 1264 Chapter 21 3D Compositing Speed: A pop-up menu that sets the type of interpolation used for the rotation. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. Zoom: A slider that sets a proportional value to modify the camera’s Angle of View parameter. A nonzero value determines how much the angle of view (and thus perspective) changes relative to the camera’s initial angle of view. A zero value for Zoom leaves the Angle of View parameter unchanged. HUD Controls The HUD contains the same controls as the Inspector. Lighting Lighting can be applied to a motion graphics project to enhance the depth and scope of compositions, or it can help create realistic environments for composites. Motion’s lighting system only works on 3D groups and their children. To add a light to a project µ Choose Object > New Light (or press Command-Shift-L). A light object is added to the Layers list, the Timeline, and the Canvas (represented by a wireframe icon), and the 3D Transform tool in the toolbar becomes active. If you add a light to a project with no existing 3D groups, the following dialog appears: If you select Keep as 2D, a light at the root level has no effect until you have at least one root-level 3D group. By default, 3D groups and objects display the shading from lights as soon as lights are added. A light is activated when it is a child of the following objects: • The project (for example, a light is at the root level of the project) • An unflattened 3D group Chapter 21 3D Compositing 1265 Properties Affecting the Appearance of Lights When you add lights to a scene, two groups of properties contribute to the appearance of lights: light properties and object lighting properties. You can adjust light properties by selecting a light object in the project and then modifying the parameter values in the Light pane in the Inspector. You can manipulate object lighting properties by selecting a nonlight layer in your project (an image, movie clip, shape, and so on) and then adjusting the Lighting parameters in that object’s Properties pane. Light properties—the quality of the light source itself—fall into the following categories: the type of light, its intensity, and its color. A light bulb, the sun, and lighting in a dance club have different appearances. You can use lighting properties to simulate these differences. Combining Multiple Light Types Like real-world lights, you can use multiple lights to mix color. If one red and one blue spot light are pointed at a white object, they mix to make magenta. Each type of light has its own attributes. It may take a combination of light types to achieve a specific effect. For example, you might want to include a dim ambient light with a spot light to add depth or prevent total darkness where the spot light's effect drops off. Light Parameters When you create a light, or select a light object in the Layers list, the Light pane becomes available in the Inspector. Parameters in the Inspector Light Type: A pop-up menu that lets you choose from four categories of light. • Ambient: An ambient light emits light in all directions, illuminating all objects in the scene from all directions equally. This type of light has no position and no representation in the Canvas. The most common use for ambient lights is to add an overall fill effect or color cast. Note: There is no global ambience property in Motion, so you may have to add an ambient light to prevent total blackness. 1266 Chapter 21 3D Compositing • Directional: A directional light emits parallel rays of light in a specified direction from a source located at an infinite distance. Only the rotation of this light has bearing on its effect. A directional light icon, in conjunction with the transform controls, can be used to assist in visualizing the direction the light is traveling in a scene. The directional light icon appears as a cylinder with one end removed. The circle represents the back of the light, and the lines indicate the direction in which the light is traveling. Directional light Example of a directional light • Point: A point light emits light outward from a single point in 3D space in all directions. Optionally, you can add falloff based on an object’s proximity to the light. This is Motion’s default light, and it produces results similar to that of an incandescent light bulb. Point light Point light example Chapter 21 3D Compositing 1267 • Spot: A spot light emits light from a conical light source and casts an elliptical pattern on objects hit by the light. Using a spot light allows for a high degree of accuracy when you need to limit the area affected by the light. Spot light Spot light example Color: A standard set of controls that enable you to select the color of the light. Intensity: A slider that cats as a dimmer switch for lighting. If you use a Directional light at 100% intensity pointed straight at a red object, the object looks red. If you lower the intensity, the object and scene get darker. However, if you increase the intensity above 100% you can begin to overexpose your scene, eventually causing the object to appear white. The Intensity value slider ranges from 0 and 400, but there is no upper limit for Intensity (use the adjacent value slider to set a value above 400). Note: Multiple lights interacting with an object combine to increase the object’s apparent brightness as they would in the real world. If you have two spot lights overlapping in space and pointing in the same direction with Intensity set to 100%, you see the same result as having a single spot light with its Intensity set to 200%. Falloff Start: A slider that enables you to adjust where the falloff point of a light begins. In the real world, light falls off—or has less of an effect—as the distance from the light source increases. Usually falloff starts at the center of the light object. Setting Falloff Start adds additional control to your lighting. This parameter applies to light types that use a Position parameter (Point and Spot). 1268 Chapter 21 3D Compositing In the example below, a light is positioned slightly above the origin of the scene. There are three rings of cards at a distance of 200, 500, and 1000 units from the light. (In this example, a visible light source—the bulb at the center of the rings of cards—is simulated for illustrative purposes.) The light’s Intensity is set to 100% and Falloff is set to 10%. When Falloff Start is set to 0 (left, below), the light begins to fall off by the time it hits the innermost ring. When Falloff Start is set to 200 (right, below), the inner ring is lit at 100% intensity and the outer rings are slightly brighter than before. Falloff Start set to 0 Falloff Start set to 200 When Falloff Start is increased to 500 (left, below), the inner and middle rings are lit at 100% intensity, and the outer ring is brighter than before. Finally, when Falloff Start is set to 1000 (right, below), all rings are lit at 100% intensity. Falloff Start set to 500 Falloff Start set to 1000 Chapter 21 3D Compositing 1269 In the next example, the image on the left contains a light with Intensity set to 100%, while the image on the right has a light Intensity of 500%. In the image on the right, the outer rings are slightly brighter, but the innermost ring is overexposed. If the Falloff Start of the light in the image on the right is increased to 1000, the rings are overexposed. Intensity set to 100; Falloff Start set to 0 Intensity set to 500; Falloff Start set to 0 Falloff: A slider that controls the rate of falloff for a point or spot light based on the Falloff Start setting. At low values, light falls off over a long distance from the light source; therefore, the light travels farther in the image. At high values, the falloff occurs more rapidly. Cone Angle: A dial that becomes available only when Light Type is set to Spot. The Cone Angle is measured from the center of the light outward. The angle may be set to a value between 0 and 90 degrees. The distance of the light from its target affects the result of this parameter. If the light is close, a wider spot cone angle may be needed to light more of the object. If the light is further away, a lower Cone Angle may be needed to isolate objects. Soft Edge: A dial that becomes available only when Light Type is set to Spot. Like Cone Angle, this parameter can be set to a value between 0 and 90 degrees. Its starting point begins at the outer edge of the Cone Angle. If set to 0, spot lights have a hard edge. Low values produce a slight softening effect to the boundary of the lit area. Higher values produce a wide, more natural fade. Adding softness expands the area of your light, so you might need to adjust the angle to achieve a specific effect. Note: Point lights and spot lights also contain a set of parameters to control how they cast shadows. For more information on these parameters, see Shadows. HUD Controls The Light HUD contains the Light Type, Color, Intensity, Falloff Start, and Falloff parameters, which are also available in the Inspector. The Light HUD also contains 3D transform controls. For more information, see 3D Transform HUD Controls. 1270 Chapter 21 3D Compositing Object Lighting Parameters All lightable objects have properties that control how they react to lights in a scene. You can adjust these properties for an object via the Lighting section of the Properties Inspector. Shading: A pop-up menu that enables you to set how an object responds to lights in the scene. If set to On, the object can be lit. If set to Off, the object ignores scene lights. If set to Inherited (the default), the object uses the Shading value of its parent. Note: It is possible to set the Shading parameter of a child of a group (however deep it is nested) to On. That setting overrides any group settings previously applied to the child object. Highlights: A checkbox that controls whether lit objects show highlights. This parameter has no effect if Shading is set to Off. Shininess: A slider that sets how strong an object’s highlights appear. Higher values create a glossier appearance. If the Shininess slider is not visible, click the disclosure triangle next to Highlights to reveal it. This Shininess parameter is disabled when the Highlights parameter is deselected. You might need to fine-tune object surface properties and lighting parameters to achieve a specific result. Simulating Visible Lights Light sources are not visible. You can simulate a visible light source by combining a point light and an image or shape. Simulated visible light source created by combining a light with a shape Note: Use the Match Move behavior to move a simulated light source with a light in a movie clip. For more information on the Match Move behavior, see Match Move Workflows. Chapter 21 3D Compositing 1271 Disabling Lighting Lighting effects can significantly impact playback performance. Therefore, you might want to temporarily disable lighting to improve playback speed while working on other aspects of your project. To Disable Rendering of Lighting µ From the Render pop-up menu in the status bar, choose Lighting (or press Option-L). Shadows Motion scenes that include Point or Spot lights can recreate more natural, realistic effects by casting shadows. Shadows are created when an opaque or semi-opaque object blocks light from hitting another object. To see a shadow in Motion, you need at least three things: A shadow-casting light source, an object to cast a shadow, and another object upon which the shadow is cast. Multiple lights cast multiple shadows that may or may not be visible depending on the relative positions and settings of the objects in the scene. Note: Ambient and Directional lights do not cast shadows. Warning: Some changes you make to 3D objects with shadows applied cause shadows to disappear. This occurs when the change causes rasterization of the 3D object—adjusting the opacity of a group or turning on the glow attributes for a text object, for example. Flattening the 3D group allows it to cast shadows again. For more information about disappearing shadows, see Shadows and Rasterization. In Motion, you can control whether a light source creates shadows and whether each object in the scene receives shadows and/or casts shadows. You can even have an object cast a shadow when it is invisible. The strength, sharpness, shape, and position of the shadow depends on the type and positions of the lights and relative position of all three objects. 1272 Chapter 21 3D Compositing Cast Shadows Versus Drop Shadows There are two common types of shadow effects used in motion graphics work: drop shadows and cast shadows. Motion can create both effects, but because they have different purposes and applications, it may be helpful to consider the differences between them. Cast and drop shadows simulate the effect of light blocked by an opaque object. But a cast shadow is a 3D effect requiring a light source and an object for the shadow to fall upon, whereas a drop shadow is a 2D effect simulating a cast shadow without a light source and therefore is limited to a very small range of settings. Drop shadow Cast shadow Drop shadows are commonly used to simulate depth and separate foreground objects from the background in 2D projects. The classic drop shadow effect is used on light-colored titles so the text is legible against dark and light backgrounds. In a drop shadow effect, the imaginary light source does not create any shading effect on the surface of the object, and the shadow’s position is set at a fixed direction. A drop shadow is rendered as a part of the foreground object, so it doesn’t interact with background objects. However, because it is an effect, its appearance can be customized. The softness, opacity, position, and color can be adjusted and animated without having to manipulate a light source. Cast shadows are true 3D effects, and their appearance is determined by the light source and the other objects in the scene. Multiple cast shadows interact with each other and take their shapes based on the surfaces and positions of the objects upon which they are cast. This section addresses cast shadow effects. For information on drop shadows, see Drop Shadows. Shadow Controls Shadows are controlled by adjusting settings in two places. Point and spot lights have a Shadows section in the Light Inspector, and all visible objects have a Shadows section in the Properties Inspector. Note: 2D groups at the root level of the project do not have lighting or shadow controls. To enable shadows on such a group, convert it to 3D or embed it in another 3D group. Chapter 21 3D Compositing 1273 Shadow Parameters in the Light Inspector Shadows: This checkbox allows you to turn on Shadows controls. (When activated, the checkbox is blue.) The Shadows checkbox allows you to set some lights to cast shadows, and others not to cast shadows. Selecting this checkbox causes the light to cast shadows on objects in front of it if the objects also have shadow controls enabled. Deselecting it exempts the light from generating shadows, regardless of settings of individual objects. Opacity: This slider controls the apparent opacity of the shadow. Dragging the slider to the left creates a lighter shadow. Opacity set to 75% Opacity set to 25% Softness: This slider determines how blurry a shadow will appear. Note: The appearance of a shadow depends on the rendering quality of the object casting it. Because a shadow may be larger than the original object, you may see some jagged edges or aliasing on the shadow. If you see such artifacts, check how your image looks when the project is set to best quality, rather than draft or normal. For more about Canvas display quality, see Canvas View Options. Uniform Softness: This checkbox lets you constrain the results of the softness slider to a uniform amount of blur on the shadow regardless of distance between the light, the object casting the shadow, and the object receiving the shadow. By deselecting the checkbox, you enable nonuniform softness, where the farther the objects are from each other, the more blur is applied. 1274 Chapter 21 3D Compositing Note: Selecting nonuniform softness can impact playback performance. Uniform softness Nonuniform softness Note: Intersecting objects reveal an unnatural effect of using uniform softness. Because an equal amount of blur is applied to the entire shadow, the blur appears to spill out in front of the intersecting object, creating a strange appearance. This effect can be eliminated in two ways: by deselecting the Uniform Softness checkbox or by setting the object to not receive shadows. Nonuniform softness Uniform softness Uniform softness with text object rejecting shadows Shadow appears in front of intersecting objects. No shadow appears. The shadow is not visible on the text object. Chapter 21 3D Compositing 1275 Color: This control allows you to set the color of the shadow. Although semitransparent objects cast lighter shadows than opaque objects, you cannot create light transmission effects wherein a semitransparent object allows some light to pass through it, picking up its color or pattern and projecting that as part of the shadow, as light passing through stained glass does. For more information on using the color controls, see Color Controls. Note: When light shading is turned on, shadows are multiplied with the objects upon which they are cast. This means that the result is a darkening effect, regardless of the color of the shadow. If you select a shadow color lighter than the background upon which is is cast, the shadow may not be visible. So, for example, when shading (lighting) is turned on, it is not possible to cast a white shadow on a dark surface. To override this effect, you must disable shading. For more about using shadows without lights, see Shadows Without Lights. Shadow Parameters in the Properties Pane Every visible object in a 3D space has shadow controls in the Properties pane of its Inspector. This includes shapes, clips, particles, and so on. Lights, Cameras, and 2D groups at the root level of the project do not have shadow controls. Cast Shadows: This checkbox sets whether an object casts a shadow if it is between a light source and another object. 1276 Chapter 21 3D Compositing Receive Shadows: This checkbox controls whether neighboring objects’ shadows affect the current object. When deselected, light affects the object as if the shadow-casting object did not exist. The following image depicts an object (the white ring) with the Receive Shadow checkbox selected and the Casts Shadow checkbox deselected. Shadows Only: This checkbox allows an object to block light and cast a shadow, while the object itself does not appear in the scene. Chapter 21 3D Compositing 1277 You can select both Receives Shadows and Shadows Only, which makes the object invisible except for the regions where a shadow is cast upon it. Shadows and Complex 3D Objects When using shadows with objects such as particle systems, text objects, or replicators that are set to 3D, shadows are cast from one part of the object onto another part. This is called self-shadowing. 1278 Chapter 21 3D Compositing Modifying the object in a way that causes rasterization prevents shadows from displaying. In some cases you may be able to find another way to perform the effect that does not require rasterization. For example, in the following images, rather than modifying the opacity of the particle emitter, which causes rasterization, you can modify the opacity of the particle cells and maintain the shadows. Emitter set to 100% Opacity Emitter set to 60% Opacity Particle cells set to 60% Opacity In the second figure, the layer order of the particle system is affected, and particles appear in front of the letter A. For more about how rasterization affects shadows, see Shadows and Rasterization. Shadows Without Lights Lighting and shadows can each be disabled independently. You can keep shadows visible, even when lighting is disabled, allowing you to keep the original unshaded look of the scene. Turning off lighting also changes the way shadows are rendered. Chapter 21 3D Compositing 1279 When Shading (the visible effect of lighting) is disabled, shadows behave differently. Rather than being multiplied with the object upon which they are cast, the shadow’s color and opacity are controlled only by the Shadows settings in the Light pane of the shadow-casting light’s Inspector. Shading enabled Shading disabled This enables you to create shadows of any color or opacity, from traditional dark shadows to brightly colored or even white shadows. 1280 Chapter 21 3D Compositing Shading can be disabled globally by choosing View > Render Options > Lighting or by choosing Lighting in the Render pop-up menu in the status bar. (Make sure there is no checkmark beside the menu item.) Shading can also be disabled for a specific object in the Lighting section of an object’s Properties Inspector. For more about disabling lighting/shading, see Disabling Lighting. Shading disabled globally Shading disabled on floor object With spot lights, enabling shadows but disabling shading can create a seemingly strange result where the shadow is suddenly cut off because it has exceeded the scope of the light cone. Because the shading effect of the light cone is turned off, the shadow edge looks unnatural. To correct such an occurrence, increase the Cone Angle in the Light Inspector. Disabling Shadows Rendering shadows can significantly impact playback performance, so you might want to temporarily disable shadows to improve playback speed while working on other aspects of your project. To disable rendering of shadows µ From the Render pop-up menu in the status bar, choose Shadows (or press Option-Control-S). Chapter 21 3D Compositing 1281 Reflections In the real world all objects exhibit some degree of reflectivity based on surface shine, brightness, angle of view, and proximity to reflected objects. Motion simulates this natural effect, equipping every object with a set of parameters to create and control realistic-looking reflections. When Reflections are enabled for an object, all other objects in the scene are reflected but may only be visible from specific angles and distances. Reflection Parameters The Properties Inspector includes a Reflection section. Reflections Parameters in the Properties Inspector: Reflection: This checkbox enables reflections based on the settings of the parameters in the group. (When selected, the checkbox turns blue.) Reflectivity: This slider controls how shiny the object’s surface appears. 0% indicates no reflectivity, while 100% is perfectly reflective, like a mirror. Blur Amount: This slider controls whether real reflections appear in sharp focus or quite blurry, depending on the surface quality of the reflecting object. 1282 Chapter 21 3D Compositing Falloff: This checkbox determines whether the reflection fades with distance from the object, producing a more realistic result. There are additional options in the Falloff section when this checkbox is enabled: No Falloff With Falloff Begin Distance: This slider determines the distance (inside the reflection) where the falloff begins. When the slider is set to 0, falloff starts at the reflection plane. End Distance: This slider determines the distance where the falloff ends, beyond which the reflection isn’t visible. Adjusting this slider moves the falloff point closer to the reflection plane, which causes less of the reflected image to appear. Exponent: This slider controls how quickly a reflection gets fainter as the reflected object gets farther from the reflective surface. Blend Mode: This pop-up menu determines the blend mode used for the reflection. Blend modes other than “add” are useful for achieving different looks, even if they aren’t physically intuitive. For more about blend modes, see Blend Modes. Chapter 21 3D Compositing 1283 Other Reflection Parameters Casts Reflection: The Properties Inspector of every object also contains a Casts Reflections pop-up menu (in the Blending section) that controls whether an object is reflective. There are three options: • Yes: The object is reflected in nearby reflective objects. • No: The object is ignored by reflective surfaces. 1284 Chapter 21 3D Compositing • Reflection Only: The object becomes invisible, but appears in reflective surfaces around it. Reflections and Groups In addition to choosing reflections settings for individual objects, you can adjust settings for an entire group. Reflections settings for a group override the settings of individual layers in the group. For example, if an object in a group is not set to receive reflections, turning that setting on for the whole group forces the individual object to receive them. Turning off the setting for the group allows the objects’ settings to act as expected. Cast Reflections settings work differently. If the group is set to cast reflections, individual objects’ reflections can still be turned off (or set to Reflections Only). However, if the group is set to not cast reflections at all, individual objects never cast a reflection, regardless of their setting. Disabling Reflections Rendering reflections can significantly impact playback performance, so you might want to temporarily disable reflections to improve playback speed while working on other aspects of your project. To disable rendering of reflections µ From the Render pop-up menu in the status bar, choose Reflections (or press Option-Control-R). Chapter 21 3D Compositing 1285 Limiting Recursive Reflections When a reflective object is reflected in another object, the first object can be seen in the reflection, potentially causing an endless repetition of reflections. Motion limits the number of reflective bounces that can occur in a scene, preserving performance and preventing the viewer from getting lost in infinity. The number of allowed reflections is set per project. To set the number of recursive reflections in the current project 1 Choose Edit > Project Properties (or press Command-J). The Properties Inspector for the project opens. 2 In the Reflections section, adjust the Maximum Bounces slider. 1286 Chapter 21 3D Compositing Motion tracking is a method of recording the movement of an element (a shape or reference point in a movie clip) in the Canvas, then applying that recorded movement data to another element in the Canvas. For example, you can use motion tracking techniques to pin a post-production graphic to the side of a moving bus, track a blurry circle to a person’s face to preserve an innocent bystander’s anonymity, or replace a daring stuntman’s head with the lazy mug of a leading actor. This chapter covers the following: • About Motion Tracking (p. 1288) • How a Tracker Works (p. 1289) • Motion Tracking Behaviors (p. 1290) • Shape Track Points Behavior (p. 1292) • Track Behavior (p. 1292) • General Motion Tracking Workflow (p. 1293) • Match Move Workflows (p. 1296) • Using a Non-Match Move Four-Point Track for Corner-Pinning (p. 1308) • Stabilize Workflow (p. 1310) • Unstabilize Workflow (p. 1313) • Track Points Workflow (p. 1314) • Track Parameter Workflow (p. 1318) • Adjusting the Onscreen Trackers (p. 1319) • Strategies for Better Tracking (p. 1322) • Tracking Behavior Parameters (p. 1339) 1287 Motion Tracking 22 About Motion Tracking Motion provides a set of automated tracking behaviors that allow you to do the following: • Match move elements in movie clips: You can apply tracking data from a background element (such as a billboard) to a composited foreground element (such as a graphic of a logo) so both elements appear to be locked together. This technique is known as match moving. • Match move animated objects in the Canvas: You can apply the motion data of an animated object to another object in the project. For example, you can attach a smoke particle emitter to an animated spaceship so a rocket exhaust trail follows wherever the spaceship moves. • Stabilize camera movement in movie clips: You can apply tracking data to remove unwanted camera movement or jitter in a movie or image sequence. For example, you can smooth handheld camera shots. • Unstabilize movie clips: You can restore movement to a previously stabilized movie. This technique is useful when you stabilize a clip to add a foreground effect but want to restore the original camera movement to the final composite. • Track the position parameter of a filter: You can apply tracking data to the position parameter of a filter. For example, you can make the center point of a Light Rays filter follow a moving flashlight beam in a movie clip. The tracking data from the flashlight beam is applied to a single parameter of the filter (the Center parameter), rather than to the filter as a whole. • Track the control points of a shape or mask: You can apply tracking data from reference points in a movie clip to the control points of a shape or mask. For example, you can use this technique to attach a mask to a moving element in a movie clip, isolating that element to apply additional effects to it. Motion lets you track one or multiple reference features in a clip: • One-point tracking: Track a single reference pattern (a small area of pixels) in a movie clip to record position data. • Two-point tracking: Track two reference patterns in a movie clip and use the relationship between the tracked points to record position, scale, and rotation data. • Four-point tracking: Often referred to asfour-corner pinning. Track four reference patterns in a movie clip to record position, scale, and rotation data. The four trackers analyze the relationship between four reference patterns, such as the corners of a picture frame or television monitor. This data is applied to each corner of an image or clip to “pin” the clip so it appears locked in the picture frame or television monitor. • Multiple-point tracking: Track as many reference patterns in a clip as you like. You can manually add trackers in the Analyze Motion behavior. When you apply a Track Points behavior from the Shape behaviors subcategory to a shape or mask, a tracker is assigned to each shape control point. 1288 Chapter 22 Motion Tracking Note: Although Motion provides a 3D workspace, tracking in Motion is planar. In other words, tracking does not occur in Z space. For example, if you are analyzing two features in a clip—and that clip is moving in 3D space—you are recording the changes in position, scale, or rotation over time in the clip, but not its actual 3D transformation. The object tracked is called the background or source element. The object to which the tracking data is applied is called the foreground or destination element. How a Tracker Works In Motion, you apply a tracking behavior to an object—typically a movie clip—to record and analyze its motion. The result of this analysis is a track—recorded movement data—that can be applied to any other object in the project, transferring the motion of a source object to a destination object. Tracking behaviors analyze an area of pixels known as a reference pattern over a range of frames in a movie clip to “lock onto” the pattern as it moves across the Canvas. You specify the reference pattern to be tracked (a specific swatch or snapshot of pixels in the clip) by dragging one or more onscreen trackers (a red crosshair in a circle, shown below) to the area of the clip you want to analyze. Motion then proceeds to track the designated reference pattern for a specified duration of time. This duration of time is based on the length of the tracking behavior, the length of the defined play range, or the length of the clip. Ideally, the reference pattern should be a consistent, easily identifiable detail with high contrast. This makes the pattern easier to track. During the analysis, the tracker advances to each subsequent frame, sampling many positions in the search region around the center point of the tracker. Some of those positions fit the designated reference pattern more closely than others; the tracker finds the position where the search region most closely matches the reference pattern (with subpixel accuracy). For every frame analyzed, the tracker assigns a correlation value by measuring how close the best match is. In addition to searching for the reference pattern’s position, the tracker identifies how the pattern transforms (scales, rotates, or shears) from one frame to the next. Imagine you are tracking a logo on the shirt sleeve of a person walking past the camera. If the person turns slightly as he passes the camera, the reference pattern rotates. The tracker looks for the reference pattern and any shifts in that pattern’s scale or rotation. When the tracker’s position and correlation values for a given frame are determined, Motion records this information in keyframes. This process is repeated for every frame, until the end of the track range is reached. Chapter 22 Motion Tracking 1289 The recorded data is stored as keyframes in the tracking behavior. This data allows you to apply the recorded motion to many project elements. Note: The Stabilize behavior uses an advanced technology that analyzes the motion of the entire frame of a clip, without the use of trackers. There are six tracking behaviors in Motion: four in the Motion Tracking behaviors subcategory, one in the Shape behavior subcategory, and one in the Parameter behaviors subcategory. For a general overview of Motion behaviors, see Using Behaviors. Motion Tracking Behaviors Motion uses behaviors to collect, analyze, store, and apply tracked motion data. Because the data is stored in the behavior (as keyframes), it can easily be applied to other objects in a project. A Motion Tracking behavior can also be used to apply animation data created by standard behaviors or keyframes. Motion Tracking behaviors are applied in the same manner as all other behaviors. When a tracking behavior performs its analysis, track points appear in the Canvas, and tracking keyframes are created in the behavior. These keyframes live in the behavior that is applied to an object—the keyframes are not applied to the object itself. Note: Onscreen track points (and their corresponding tracking keyframes that appear in the Keyframe Editor) are not created when using the default motion analysis in the Stabilize behavior. There are four Motion Tracking behaviors: • Analyze Motion: This behavior is used to generate and store tracking information from a clip. Unlike the Match Move and Stabilize behaviors, Analyze Motion cannot apply its tracking information to other objects. However, the tracks gathered by the Analyze Motion behavior can be applied to other objects via the Match Move, Track (in the Parameter behaviors category), and Track Points (in the Shape behaviors category) behaviors. Note: The Analyze Motion behavior can only be applied to footage (a QuickTime movie or image sequence). The Analyze Motion behavior lets you add multiple trackers to a clip. In this way, you can analyze multiple reference patterns at the same time. 1290 Chapter 22 Motion Tracking • Match Move: This behavior is used to match a foreground element to a background element so they appear locked together. This effect can be achieved in three ways: • You can match a foreground element to a background element using one-point (position), two-point (position, scale, or rotation), or four-point (corner-pinning) tracking. Unlike other tracking behaviors, the Match Move behavior can perform the analysis and compositing operations. You can add further modifications (blur, color corrections, and so on) before you create the final composite. • You can use the Match Move behavior to apply a reference a track recorded by another tracking behavior. You do this by choosing a track from the Action pop-up menu (the gear icon) in the Match Move behavior’s HUD or Inspector. • You can apply the animation data of one object (animation created by behaviors or keyframes, for example) to another object. You do this by dragging an animated source object from the Layers list into the Source well in a destination object’s Match Move behavior HUD or Inspector. In this way, you can apply the animated source object’s movement to the destination object without analyzing the motion of the source object. Note: The Match Move behavior can be applied to nearly any object type. • Stabilize: This behavior removes unwanted motion in a clip, such as camera jitter. The stabilization can be applied to the horizontal or vertical movement in the clip, or to a combination of horizontal and vertical movement. This effect can be achieved in any of three ways: • The Stabilize behavior can analyze and stabilize a clip without onscreen trackers. In this case, the Stabilize behavior evaluates the entire frame of a clip using motion analysis to record the movement of the camera. This behavior offers two ways to use this recorded data: clip smoothing, which eliminates unwanted jitter while maintaining the general motion of the camera; and clip locking, which stabilizes a subject. This behavior can analyze and affect position, scale, and rotation. • In addition to full-frame motion analysis, you can add onscreen trackers for one-point (position) tracking or two-point (position, scaling, or rotation) tracking. When you add manual trackers to the Stabilize behavior, Motion stabilizes the clip using data from the trackers rather than from an automated motion analysis. When using this method, the tracker moves the frame so the track point falls in the same spot in each subsequent frame. You can also combine these methods; for example, you can track part of a clip with the full-frame method and then switch to manually added trackers later on. • You can load analysis tracks recorded in one Stabilize behavior into another. To load an analysis track, choose a track from the Action pop-up menu in the destination object’s Stabilize behavior HUD or Inspector. Note: The Stabilize behavior can only be applied to footage (a QuickTime movie or an image sequence). Chapter 22 Motion Tracking 1291 • Unstabilize: This behavior does not perform tracking analysis. Instead, the Unstabilize behavior applies the movement recorded by a Stabilize behavior to a clip or object. This allows you to match the camera shake in a movie clip to foreground elements added in post-production. To load the tracking data, choose a track from the Action pop-up menu, located in the tracking behavior HUD or Inspector. Note: The Unstabilize behavior can be applied to nearly any object type. When applicable, you can convert tracking data recorded or referenced by the Match Move, Stabilize, or Unstabilize behaviors to object keyframes. When converted, the tracking behavior is removed and the transform keyframes are “baked” into the object. For more information on converting behaviors, see Converting Tracks to Keyframes. Shape Track Points Behavior The Track Points behavior, a member of the Shape behavior subcategory, allows you to do either of the following: • Track the control points of a shape, paint stroke, or mask to reference features on a source clip. For example, you can draw a mask around a car in a clip and then track the control points of the mask to the moving car, cutting the car out of the background. You can then apply effects to the isolated car, and the surrounding image is not affected. • Apply existing tracking data recorded by the Analyze Motion, Match Move, or Stabilize tracking behaviors to the control points of a shape or mask. Note: The Track Points behavior can be applied only to shapes (including paint strokes) and masks. Track Behavior The Track behavior, a member of the Parameter behavior subcategory, allows you to match the position parameters of shapes, clips, or filters (such as the Center parameter of a Circle Blur filter) to a reference feature of a clip. The tracking data is obtained in one of two ways: • After you add the Track behavior to a position parameter, another clip is analyzed in the Track behavior, and the recorded data is applied to that position parameter. • Tracking data from another tracking behavior is referenced by the Track behavior. The recorded data from the referenced behavior is applied to the position parameter. Note: Although it’s a Parameter behavior, the Track behavior is only designed for use with position parameters. 1292 Chapter 22 Motion Tracking General Motion Tracking Workflow This section is a general overview of the tracking workflow common to most Motion Tracking behaviors. The Analyze Motion behavior is used in this example. The Analyze Motion behavior analyzes and stores tracking data from a clip but does not transform the tracked object. Analyze Motion data tracks are meant to be referenced by other tracking behaviors. For a full description of Analyze Motion parameters, see Analyze Motion Controls. Tracking in one pass rarely yields perfect results. For information on tracking methods and tips, see Strategies for Better Tracking. To generate a track for a clip using the Analyze Motion behavior 1 In the Layers list, Timeline, or Canvas, select the video object to track, then choose Motion Tracking > Analyze Motion from the Add Behavior pop-up menu in the toolbar. Note: You can also select the video object, select the Analyze Motion behavior in the Library, then click the Apply button in the Library preview area. Alternatively you can drag the behavior from the Library to the video object in the Layers list, Timeline, or Canvas. An onscreen tracker is added to the footage. By default, a single tracker appears at the center of the footage. Chapter 22 Motion Tracking 1293 2 Play your background clip several times to determine a good reference point in the footage, then move the playhead to the frame where you want to start the track analysis. 3 In the Canvas, drag the tracker to the reference point you want to use. Note: For more information on using the onscreen tracker, see Adjusting the Onscreen Trackers. For more information on selecting a tracking reference point, see Strategies for Better Tracking. 4 To add trackers, click the Add button in the Behaviors Inspector. Each new tracker is added to the center of the footage. 5 Drag the additional trackers to the reference points you want to use. 6 To track a specific range of frames, adjust the start and end points of the purple tracking behavior bar in the Timeline or mini-Timeline. Note: If you adjust the length of the tracking behavior bar, make sure to set your tracking reference points within the range of the behavior. 7 Click the Analyze button in the HUD or Behaviors Inspector. When the tracking analysis begins, a progress window opens, and track points appear on a motion path in the Canvas. The track point at the current playhead position is emphasized. 1294 Chapter 22 Motion Tracking The tracking keyframes contained in the behavior appear in the Keyframe Editor. (If the Keyframe Editor is not visible, click the Show/Hide Keyframe Editor button in the lower-left corner of the Motion project window.) Confidence curve X position curve Y position curve Because the Analyze Motion behavior does not transform the source object, only the tracking keyframes appear in the Keyframe Editor. When using a Match Move or Stabilize behavior, the tracking keyframes appear as well as the transform curves of the source object (for Stabilize) or destination object (for Match Move). A confidence curve is also displayed in the Keyframe Editor. This curve provides a visual indication of the tracker’s accuracy relative to its parameter settings in the Inspector. The confidence curve is not for editing purposes. 8 To stop a track analysis, click the Stop button in the progress window or press Esc. Tip: If the tracker loses its reference pattern, do not click the Stop button. Allow the analysis to continue for a few seconds. When the tracker fails, the playhead jumps to the exact frame where the track was lost. The analyzed track, contained in the Analyze Motion behavior, can now be loaded into other tracking behaviors (via an Action pop-up menu in the HUD or Inspector of the other tracking behaviors). In the image below, a track from the Analyze Motion behavior is loaded into a Match Move behavior HUD. Note: The Stabilize behavior can only load tracks from other Stabilize behaviors. Chapter 22 Motion Tracking 1295 Important: Although the Stabilize behavior’s automatic analysis mode starts from the beginning of a clip (regardless of the playhead’s position), the analysis of other tracking behaviors begins at the current playhead position for all workflows. To define a tracking region, set an Out point for the tracked clip. If you are performing a reverse track analysis, set In and Out points for your track. To set an Out point, position the playhead at the correct frame, select the clip, then choose Mark > Mark Play Range Out (or press Command-Option-O). To set an In point, position the playhead at the correct frame, select the clip, then choose Mark > Mark Play Range In (or press Command-Option-I). Loading Data into a Behavior If the project contains footage or animated objects when a Match Move, Stabilize, Unstabilize, or Track Points behavior is applied, the nearest footage or animated object below the behavior in the Layers list is applied to the tracking behavior and appears in the behavior’s Source well. This data is overwritten when you choose another track from the Action pop-up menu. You can assign an animated object or tracking data to a tracking behavior in any of four ways: • Choose another tracking behavior from the Action pop-up menu. • Drag a tracking behavior or footage object to the Source well in the HUD or Behaviors Inspector. • Drag an animated object to the Source well in the HUD or Behaviors Inspector. The referenced animated object is applied as the source for the current behavior. (This option applies only to the Match Move and Track Points behaviors.) • Drag a tracking behavior or footage object to the tracking behavior in the Layers list. The referenced tracking behavior or footage object is assigned as the source for the current behavior. Note: To clear a Source well, drag the item away from the well and release the mouse button. Match Move Workflows This section provides a general overview of several behavior workflows, including four-corner pinning. For a full description of Match Move parameters, see Match Move Controls. 1296 Chapter 22 Motion Tracking To use a Match Move behavior, you need at least two objects in your project: a background or source object and a foreground or destination object. The source object provides movement data based on a tracking analysis of its video or its animation attributes (keyframes or behaviors applied to a shape, for example). The movement from the source object is then applied to the destination object. The destination object can be a shape, text, particle emitter, and so on. Using Match Move to Track a Background Element In this typical workflow, the Match Move behavior tracks an element of a background video clip and then applies the resulting track data to a foreground element. As a result, the foreground element matches the movement of the tracked element in the background clip. To “match move” a foreground object to a background video clip using the Match Move behavior 1 Create a Motion project containing a video clip and a shape or image object. The video clip becomes the background element. The shape or image object serves as the foreground element. 2 Play the background clip several times to determine a good, clearly defined track analysis point. 3 Select the foreground object, then choose Motion Tracking > Match Move from the Add Behavior pop-up menu in the toolbar. A single onscreen tracker (a red crosshair in a circle) is added to the Canvas. Because the default Match Move tracker records position data, it is known as an anchor tracker. (In the Behaviors Inspector, you can deactivate this tracker by deselecting the Anchor checkbox.) 4 Determine if you need to activate additional trackers for two- or four-point tracking. • For two-point tracking, select the Rotation-Scale checkbox in the Behaviors Inspector (under the Anchor checkbox). • For four-point tracking, choose Four Corners from the Type pop-up menu in the Behaviors Inspector and proceed to Four-Corner Pinning with Match Move. 5 Move the playhead to the frame where you want the track analysis to begin. 6 In the Canvas, drag the tracker (or trackers) to the reference area (or areas) to track. Chapter 22 Motion Tracking 1297 As you drag the tracker in the Canvas, the region around the tracker becomes magnified to help you find a suitable reference pattern. 7 Click the Analyze button in the HUD or Behaviors Inspector. The foreground element is tracked to the background element. Match Move and Two-Point Tracking If you use two-point tracking in a Match Move behavior, turn on (or off) the Position, Scale, or Rotation buttons (in the Adjust row of the Behaviors Inspector) to add or remove tracking parameters, thereby achieving different effects. In the following example, an oval shape (the foreground object) is match-moved to a video clip of picture frames (the background object) using two-point tracking. In the first three images below, only Position is enabled in the Adjust row of the Behaviors Inspector. As a result, although the camera pushes in toward the picture frames, the white elliptical shape does not change its scale or rotation based on the position of the two trackers. 1298 Chapter 22 Motion Tracking In the next example, Position, Scale, and Rotation are enabled in the Adjust row of the Behaviors Inspector. Consequently, the white elliptical shape changes its position, scale, and rotation based on the position of the two trackers, matching the camera’s push toward the picture frames and preserving the illusion that the shape is physically attached to the picture frame. Note: When using four-point tracking, scale and rotation are applied to the corner-pinned object. Using Match Move to Apply Animation Data to a Project Element You can instantly apply the animation of a source object to a destination object via the Match Move behavior, without tracking analysis. The source object can be animated by behaviors or keyframes. The following simple example uses a magic wand image (made up of a rectangle shape) animated using the Spin behavior. The animation of the wand is then tracked to a particle emitter to create the illusion of sparkles flying off the tip of the wand. To apply the transformation of a source object to a destination object 1 With the destination object selected, choose Motion Tracking > Match Move from the Add Behavior pop-up menu in the toolbar. In this example, a Match Move behavior is applied to a nonanimated particle emitter. The Match Move behavior Chapter 22 Motion Tracking 1299 The closest animation data (such as position or rotation changes caused by keyframes or behaviors) beneath the Match Move behavior in the Layers list is applied as the source and appears in the Source well. In this example, the spinning Magic Wand Shape is the source animation. The Source well and accompanying pop-up menu Important: Animated objects, tracking behaviors, and footage can be dropped in the Source wells. 2 Ensure that the Type parameter is set to Transformation in the Behaviors Inspector. 3 Position the destination object (the object to which you applied the Match Move behavior—in this case, the particle emitter) in the Canvas at the location you want. In this example, the particle emitter is positioned at the tip of the wand. The motion path inherited from the source object appears in the Canvas, attached to the destination object. As a result, the particle emitter and the wand now share the same animation path. 4 Play the project. The particles match the movement of the wand. 1300 Chapter 22 Motion Tracking About Destination Object Animation You can use the Match Move behavior to apply the movement of a source object to a destination object. When a destination object has no animation of its own, it precisely follows the motion of the source object. However, if the destination object is animated (has its own applied behaviors or keyframes), more complicated motion effects can be achieved by combining motion paths. You can specify whether the animation of the destination object is ignored by or added to the Match Move behavior. You do this in the Match Move Behaviors Inspector, by choosing one of two options from the Transform pop-up menu: Attach to Source or Mimic Source. Choosing Attach to Source applies the movement of the source object to the destination object, but disables any animation inherent in the destination object. (However, you can reactivate the destination object’s own animation and deactivate the source object’s recorded track by turning off the Position, Scale, and Rotation buttons in the Adjust row of the Behaviors Inspector.) Choosing Mimic Source combines the motion paths of the source object and destination object’s own animation. In other words, the destination object maintains its own animation while at the same time mimicking the motion in the source object’s recorded track. When the Match Move behavior is set to Mimic Source, turning off the Position, Scale, and Rotation buttons deactivates the source object’s recorded track. For more information on Attach to Source and Mimic Source, see Match Move Controls. Reordering Match Move Behaviors When you add a Match Move behavior to a project, the closest active footage or animated object in the Layers list below the clip with the behavior is applied as the source animation. This source of animation appears in the Source well of the Match Move Behaviors Inspector. When you move Match Move behaviors in the Layers list, that data is reset. To retain the source animation data, rather than dragging to reorder layers, copy the Match Move behavior and paste it to another object. To copy and paste a behavior 1 Select the behavior to copy in the Layers list. 2 Choose Edit > Copy (Command-C). 3 Select the layer to apply the copied behavior to. 4 Choose Edit > Paste (Command-V). The copied behavior is applied to another object. Note: You can also Option-drag the behavior to copy and paste it to a different object. Chapter 22 Motion Tracking 1301 Four-Corner Pinning with Match Move The Match Move behavior allows you to track four points on a background clip and apply the recorded motion to the four corners of a foreground object. There are two basic four-corner pinning workflows. In the first example, a foreground object is pinned to a background element using the four-corner trackers. This workflow is useful when the pinned image is the same size as the background reference patterns to be tracked. In the second example, the foreground object is corner-pinned using onscreen controls before applying the Match Move behavior. This method allows you to position, resize, and rotate the foreground object to fit the background reference pattern. Motion offers many tracking workflows because shots vary greatly, and tracking success is unpredictable. Several tracking attempts are often required before a satisfactory track is achieved. Note: If one of the Match Move pinning options below doesn’t result in a successful track, try four-point tracking using the Analyze Motion behavior or the Stabilize behavior. For more information, see Using a Non-Match Move Four-Point Track for Corner-Pinning. There are special considerations when corner-pinning groups. For more information, see Tracking and Groups. Option 1: Pinned Image Is Locked to the Reference Points This workflow is ideal for a four-corner pin in which the transformed or pinned image is the same size as the background frame (or reference patterns) it is being tracked to. In the following example, a foreground image is pinned to a background clip of a picture frame. To track an image using four trackers 1 Drag the playhead to the frame where you want to start the track analysis, then apply a Match Move behavior to the foreground object. 2 In the Behaviors Inspector, choose Four Corners from the Type pop-up menu. Note: The Four Corners option is not available when Match Move is applied to a 3D group. To corner-pin a 3D group, select the Flatten checkbox in the Group Inspector. 1302 Chapter 22 Motion Tracking In the Canvas, a tracker appears at each corner of the foreground object’s bounding box. In the Inspector, the default track list (Anchor and Rotation-Scale), is replaced with the Top Left, Top Right, Bottom Right, and Bottom Left trackers. As with the Analyze Motion trackers, when you drag a tracker to a new position in the Canvas, a magnified inset appears to help you position each tracker. 3 In the Canvas, drag each tracker to a corner of the background element (in this example, the corners of the picture frame). 4 Click the Analyze button in the HUD or Behaviors Inspector. The foreground element is pinned to the background element; four motion paths show the transformation occurring at each corner. Note: In this example, a reflection is created on the table using a duplicated and transformed copy of the tracked image. Chapter 22 Motion Tracking 1303 To fine-tune the track (when Four Corners is chosen from the Type pop-up menu), you might need to make minor adjustments to the foreground element, such as modifying its scale or rotation. When you choose the Attach to Source option from the Transform pop-up menu in the Behaviors Inspector, you cannot transform the tracked object. To transform the tracked object, choose Mimic Source from the Transform pop-up menu. 5 To transform the foreground element after the tracking data is applied: a From the Transform pop-up menu in the Behaviors Inspector, choose Mimic Source. b Open the Properties Inspector and make any necessary adjustments to the foreground object using the Scale, Rotation, and other parameters. For more information on the Mimic Source and Attach to Source transform options, see Match Move Controls. Option 2: Corner-Pin the Object Before Tracking In this workflow, a foreground object is pinned to a background picture frame using the Four Corner parameter in the Properties Inspector before applying the Match Move behavior. To adjust the four corners of an element and then corner-pin the element 1 Select the foreground object to corner-pin. 2 In the toolbar, choose the Distort tool from the 2D transform tool pop-up menu. 3 In the Canvas, drag each corner of the foreground object into the correct position. You can fine-tune the corner positions by adjusting the Position, Rotation, Scale, and Four Corner parameters in the Properties Inspector. When you drag a corner in the Canvas, the Four Corner checkbox is selected in the Properties Inspector. 1304 Chapter 22 Motion Tracking Tip: You can lower the opacity of the foreground object to better see the reference points on the background clip. You may also want to disable snapping so the image you are adjusting does not snap to the Canvas guidelines. To turn snapping on or off, choose View > Snap or press N. 4 Move the playhead to the frame where you want to start the track analysis, then apply the Match Move behavior to the foreground object. In the Canvas, a tracker appears at each corner of the foreground object. In the Inspector, the default track list (Anchor and Rotation-Scale) is replaced with the Top Left, Top Right, Bottom Right, and Bottom Left trackers. 5 If necessary, drag each tracker in the Canvas to further fine-tune its position, watching the magnified view in the Tracker Preview area of the Inspector. Chapter 22 Motion Tracking 1305 Important: To move the tracker positions independently of the foreground object, choose Mimic Source from the Transform pop-up menu in the Behaviors Inspector. When Attach to Source is chosen from the Transform pop-up menu, the foreground image is distorted when you drag the trackers in the Canvas. 6 Click the Analyze button in the HUD or Behaviors Inspector. The foreground object is pinned to the background element. Note: If you adjust the Four Corner parameter for a layer and then apply a Match Move behavior, the Four Corner parameter is applied in the behavior. If you delete the behavior, the four corner settings for the layer remain. If you reset the Match Move behavior, the four corner settings are reset. Masking and Tracking When a mask is added to an object with applied tracking data, the data is applied to the mask. In the following image, the foreground object is tracked to four points on the background clip, but still must be masked to fit into the picture frame. By masking the image being tracked, you can include only the portion of the image you want to fit in the frame. Although the mask is attached to the foreground image, you might need to animate changes in the mask’s position and scale to accommodate changes in the background clip over time. 1306 Chapter 22 Motion Tracking Note: As an alternative to using masks, you can also crop an object with applied tracking data using Crop controls in the Properties Inspector. You can track the control points of a mask to a clip or apply existing tracking data to the control points of a mask. For more information, see Track Points Workflow. Using Mimic Source for Four-Corner Pinning Depending on your source footage, you might need to corner-pin an element using reference points that are in a different position from the final pinned size of the foreground element. You do this by offsetting the trackers using the Mimic Source option. In the basic example below, the reference patterns to be tracked (the dot markers) are located inside the picture frame, rather than at the corners. The orange visual aid (the orange outline) represents the resulting size of the corner-pinned image. The orange visual aids circle the tracking reference points. Because the tracking reference points (the dot markers) are not flush with the inside edge of the frame, you must offset the image from the four trackers. Otherwise, the final corner-pinned image appears too small, as in the example below. Note: In this example, you could track to the corners of the frame. However, the steps in the following section demonstrate a simple example of how to use the Mimic Source parameter to four-corner pin an object when your predefined tracking markers (markers placed on the objects in the physical set) are offset from the reference points to which you want to track. Chapter 22 Motion Tracking 1307 To track reference points that are offset from the foreground image 1 Use one of the workflows described above (see Four-Corner Pinning with Match Move) to set up a four-corner pin using the Match Move behavior. 2 From the Transform pop-up menu in the Behaviors Inspector, choose Mimic Source. 3 In the Canvas, drag the trackers to the tracking markers. The image is not affected and remains locked to its original placement. 4 Click the Analyze button in the HUD or Behaviors Inspector. The foreground element is pinned on the background element. Using a Non-Match Move Four-Point Track for Corner-Pinning This section provides an additional four-corner pin workflow that references a four-point track from an Analyze Motion behavior. The four-point tracking data collected from the Analyze Motion behavior is loaded into a Match Move behavior to corner-pin a foreground object. Note: You can also perform this workflow using the Stabilize behavior. To record four-point tracking using Analyze Motion and apply the tracking data to a Match Move behavior 1 Go to the frame where you want to start the track and apply an Analyze Motion behavior to the background element. By default, a single tracker appears in the Canvas. 2 Drag the tracker (Track 1) to a reference pattern in the top-left corner of the background element. 1308 Chapter 22 Motion Tracking Note: For four-point Analyze Motion and Stabilize operations, the trackers should be positioned in a clockwise order, starting in the upper-left corner. This ensures the proper alignment of your element when the transformation is applied. Track 1 Track 2 Track 4 Track 3 3 In the Behaviors Inspector, click Add to add a second tracker, then drag the second tracker (Track 2) to a reference pattern in the top-right corner of the background element. 4 Add another tracker (Track 3) and drag it to a reference pattern in the bottom-right corner of the background element. 5 Add another tracker (Track 4) and drag it to the reference pattern in the bottom-left corner of the background element. 6 Click the Analyze button in the HUD or Behaviors Inspector. The track is generated and its data is saved in the behavior. Note: You can save tracking behaviors to the Library for later use. 7 Apply a Match Move behavior to the foreground element you want to corner-pin. 8 From the Action pop-up menu at the right of the Source well, choose the Analyze Motion track. Doing this applies the Analyze Motion tracking data recorded in step 6 to the Match Move behavior. 9 Choose Four Corners from the Type pop-up menu in the HUD or Behaviors Inspector. The four-point tracking data from the Analyze Motion behavior is applied to the foreground object. Chapter 22 Motion Tracking 1309 Note: When using the Match Move behavior for four-point tracking, the trackers are placed in the correct order (clockwise from the top left) in the Canvas after Four Corner is chosen from the Type pop-up menu in the Behaviors Inspector. If you’ve used more than four trackers or you need to change the order of the trackers, choose a different order from the Top Left, Top Right, Bottom Right, or Bottom Left pop-up menus. Stabilize Workflow This section provides an overview of the Stabilize tracking behavior, used to smooth shaky motion in a movie or image sequence. For a full description of Stabilize parameters, see Stabilize Controls. With the Stabilize behavior, there are three ways to analyze a clip: • Use the default advanced motion analysis technique that evaluates the entire frame of a clip at once to extract movement data without onscreen trackers. • Use onscreen trackers that analyze a reference pattern (a small group of pixels) in the Canvas. These are the same trackers used by the Match Move and Analyze Motion behaviors. • Use a combination of the advanced motion analysis and onscreen trackers. Important: For information on using onscreen trackers with the Stabilize behavior, see Adding Trackers to the Stabilization. After the motion analysis is complete, you can apply it in either of two ways. The clip can be smoothed, eliminating unwanted jitter while maintaining the general motion of the camera, or the clip can be locked, stabilizing the subject. The smoothing can affect translation, rotation, or scale, making it more flexible for some operations than the other tracking behaviors. The Stabilize behavior is primarily useful for removing unwanted trembling from less-than-stable crane or jib arm moves, eliminating teetering from handheld walking shots, or reducing vibrations in automotive shots. 1310 Chapter 22 Motion Tracking Note: Motion blur present in the image remains, even though the subject in the shot is smoothed or locked. To stabilize a clip using the Stabilize behavior 1 Apply a Stabilize behavior to the clip you want to stabilize. Note: Unlike other behavior workflows, the Stabilize behavior’s automatic mode analyzes the entire clip from its first frame, rather than from the current playhead position. 2 Set the options for the analysis: a Choose an option from the Method pop-up menu in the HUD or Behaviors Inspector: • Choose Stabilize to lock down an image, removing problems such as camera shake. • Choose Smooth to smooth camera movement in the clip. b Choose an option from the Borders pop-up menu: • Choose Normal to maintain the size of the stabilized footage. Resulting transformations made to the stabilized image may cause moving black borders to appear around the edges of the clip. Normal borders maintain the size of the stabilized clip but create black borders around the clip’s edges. • Choose Zoom to expand the clip to the full size of the Canvas. This prevents black borders from appearing around the edges of the stabilized clip. Zoomed borders scale the stabilized clip so the clip does not move away from the edge of the Canvas. Chapter 22 Motion Tracking 1311 Note: For suggestions on correcting the black borders, see Removing Black Borders Introduced by Stabilizing. c Choose an option from the Direction pop-up menu: • Choose Horizontal and Vertical to apply the stabilize transformation to the X and Y dimensions. • Choose Horizontal to apply the stabilize transformation to the X dimension. • Choose Vertical to apply the stabilize transformation to the Y dimension. d Enable or disable the Adjust options: • Turn on Position to apply the analyzed position data to the clip. (The X and Y position changes in the footage are smoothed or stabilized.) To stabilize the X and Y position of the shot and leave scale or rotation changes intact, turn on Position and turn off Scale and Rotation. • Turn on Scale to apply any analyzed scale data to the clip. (Scale changes in the footage are smoothed or stabilized.) To stabilize or smooth changes in scale and leave position or rotation changes intact, turn on Scale and turn off Position and Rotation. • Turn on Rotation to apply analyzed rotation data to the clip. (Changes in the rotation of the footage are smoothed or stabilized.) To stabilize or smooth changes in rotation in the shot and leave position or scale changes intact, turn on Rotation and turn off Position and Scale. For the smoothest result, turn on all three Adjust options (Position, Scale, and Rotation). Note: The Scale option is not related to the Zoom option in the Borders pop-up menu. Note: You can change the Method, Borders, Direction, and Adjust parameters before or after the clip is analyzed. 3 Click the Analyze button in the HUD or Behaviors Inspector. Note: The clip is stabilized according to defined parameters. Unlike Motion trackers, the default Stabilize analysis does not create keyframes in the Keyframe Editor. However, the stabilized object’s transformation can be converted to keyframes. For more information, see Converting Tracks to Keyframes. When correlation trackers are added to and analyzed with the Stabilize behavior, keyframes are created. For more information on correcting problems associated with stabilization, see Troubleshooting Stabilizing Effects. Adjusting the Stabilize Behavior’s Track Region When stabilizing a clip, you can use the Track Region parameter to define an area to be analyzed (isolating the stabilization to a limited area of the analyzed source). During analysis, the area outside the region is ignored. Use this option for faster processing of a clip. 1312 Chapter 22 Motion Tracking To use the Stabilize behavior’s Track Region parameter 1 In the Stabilize parameters (in the Behaviors Inspector), select the Track Region checkbox. A transparent red overlay appears in the Canvas. 2 Do one of the following: • Drag in the region to change its position. • Drag a handle to resize the region. The corner handles simultaneously resize width and height; the top and bottom center handles resize height; the left and right center handles resize width. • Press Option while dragging a handle to resize the region from its center. • Drag the rotation handle in the center of the region to change the angle of the region. Track Region rotation handle 3 After defining the track region, click the Analyze button in the Behaviors Inspector. Because analysis takes place in the defined track region, the clip is analyzed more quickly. Unstabilize Workflow This section provides a basic overview of using the Unstabilize tracking behavior to reapply camera shake or movement into a finished clip. The Unstabilize behavior’s sole function is to apply movement recorded by a Stabilize behavior to a clip or object. This allows you to match the camera movement from a background clip to foreground elements, or to unstabilize a stabilized clip. Note: A project must include a Stabilize behavior with recorded motion data before you can use the Unstabilize behavior. To use the Unstabilize behavior 1 Select the object to unstabilize, then choose Motion Tracking > Unstabilize from the Add Behavior pop-up menu in the toolbar. The behavior is added. If a Stabilize behavior (that has completed an analysis) is present in the project, the Stabilize data is applied to the Unstabilize behavior. Chapter 22 Motion Tracking 1313 2 If you don’t want to use the automatically selected Stabilize behavior, do one of the following: • In the HUD or Behaviors Inspector, choose a Stabilize behavior from the Action pop-up menu at the right of the Source well. • Drag an analyzed tracking behavior to the Source well in the HUD or Behaviors Inspector. The motion is applied to the destination object. Track Points Workflow The Track Points behavior (located in the Shape Behaviors category) is designed for use with shapes, masks, and paint strokes. Use the Track points behavior in the following ways: • To track the control points of a shape or mask to a clip (for example, when rotoscoping) • To apply tracking data from another tracking analysis to the control points of a shape or mask • To apply the animation of an object to the control points of a shape or mask Note: To apply the analyzed movement of an object to a shape or mask as a whole (not to the shape’s control points), use the Match Move behavior. For a full description of the Track Points parameters, see Track Points Controls. Tracking Control Points to a Clip This section provides a brief overview of using the Track Points behavior to track the vertices of a shape or mask to a clip. In the following example, the Track Points behavior is applied to a loose mask of seven control points isolating a car in a background clip. To track a mask using the Track Points behavior 1 With a background clip visible in the Canvas, use a mask tool to isolate part of the background clip. For more information on working with masks, see Masking a Layer or Group. 2 Select the mask object, then choose Shape > Track Points from the Add Behavior pop-up menu in the toolbar. 1314 Chapter 22 Motion Tracking The behavior is added to the mask object, and trackers appear for each control point on the shape. The trackers are ordered in the same order that the shape was drawn: Control Point 1 is Track 1, Control Point 2 is Track 2, and so on. 3 Drag the trackers to fine-tune their position on the reference patterns. As you drag, a magnified inset view of the area around the tracker appears. 4 To disable a tracker, deselect its checkbox in the Behaviors Inspector. Note: Control points without an associated tracker are not modified. 5 Click the Analyze button in the HUD or Behaviors Inspector. The mask control points are tracked to the reference patterns. Chapter 22 Motion Tracking 1315 In this example, a mask is tracked to a moving car so the car can be isolated from the rest of the clip. The illustration on the left shows the original unmodified clip. In the illustration on the right, the tracked mask isolates the car (and can be seen as the desaturated background), allowing separate effects to be applied to the car and its background even though they are part of the same image. The mask protects the car from the effects of the heavy blur and desaturation. As with all behaviors, you can drag or copy (Option-drag) a Track Points behavior to a new shape in the Layers list. When you apply the behavior to a new shape, the trackers are applied to the control points of the new shape. If the new shape has more control points than the originally tracked shape, only the original track points are applied. For example, if the originally tracked shape has three control points, and the new shape has five control points, trackers are applied to the first three control points of the new shape. If the new shape has fewer control points than the originally tracked shape, trackers are applied to the existing points on the new shape. Note: Paint strokes usually have a large number of control points. Simplify a paint stroke by deleting or disabling control points before applying a Track Points behavior to the stroke. To track the stroke as a whole, rather than by its control points, use the Match Move behavior. Using a Shape Object as the Animation Source This section provides a brief overview of using the Track Points behavior to apply the animation of an object (another shape, in this example) to the vertices of a shape or mask. Applying the animation of one animated shape to another is an easy way to create fun, complimentary animations in which the objects appear to play with each other. For this workflow, your project must contain an object animated with keyframes or behaviors. To apply the animation of one shape to the control points of another shape 1 In a project that contains two shapes, animate one of the shapes using keyframes or a Basic Motion behavior. In this example, a simple line shape is animated with the Spin behavior. 1316 Chapter 22 Motion Tracking For more information about animating with keyframes, see Keyframes and Curves. For more information about Basic Motion behaviors, see Basic Motion Behaviors. 2 Apply the Track Points behavior to a nonanimated shape. The Track Points behavior inherits the animation data of the animated object closest to it in the Layers list. (A thumbnail of the animated object appears in the Source well of the Track Points Behaviors Inspector.) In this example, the Track Points behavior is applied to a Bezier shape. Animated source object Bezier shape with applied Track Points behavior Note: To reference another animated object, drag that object to the Track Points behavior’s Source well or to the behavior in the Layers list. 3 In the Behaviors Inspector, choose Attach to Source from the Transform pop-up menu. The spinning animation of the line is applied to the Bezier shape. The Bezier shape changes form because the vertex tangents match the transformation of the source animation. Chapter 22 Motion Tracking 1317 4 To align the tangents to the transformation of the source object, select the Align Tangents checkbox in the Behaviors Inspector. Turning on Align Tangents The spinning animation of the line is applied to the Bezier shape. The tangents remain aligned at their original angles along the shape. Note: By default, Mimic Source is chosen from the Transform pop-up menu. For more information on the Transform pop-up menu, see Track Points Controls. Track Parameter Workflow The Track parameter behavior allows you to track a position parameter of a filter to a reference feature of a clip, or to apply tracking data to a position parameter of a filter. For example, you can track the center of a Light Rays filter to a moving light in a clip. Note: This behavior is only applicable to filters with position parameters, such as Scrape, Ring Warp, Light Rays, Slit Tunnel, and so on. For a full description of the Track parameter behavior, see Track Parameter Behavior Controls. To use the Track parameter behavior 1 In the Canvas, position the center point of the filter over the reference pattern. 1318 Chapter 22 Motion Tracking In this simple example, the center point of a circle blur is positioned over the license plate of a car. Note: To use a filter’s onscreen controls, select the filter in the Layers list, then choose the Adjust Item tool from the 2D tools pop-up menu in the toolbar. For more information on using filters, see Using Filters. 2 In the Filters Inspector, Control-click the Center parameter, then choose Add Parameter Behavior > Track from the shortcut menu. In the Canvas, the filter’s onscreen control is replaced with a tracker. The Behaviors Inspector becomes active and the Track behavior parameters are displayed. Note: In the Filters Inspector, a behavior icon (a gear) appears next to the Center parameter, indicating that it is influenced by a behavior. If necessary, adjust the tracker in the Canvas. If the reference pattern you want to track is offset from the center of the filter, use the Offset Track checkbox. For more information on using the Offset Track parameter, see Tracking Obscured or Off-Frame Points Using Offset Tracking. 3 Click the Analyze button in the HUD or Behaviors Inspector. The filter’s center is tracked to the clip. Note: You can make changes to the filter parameters after the analysis is performed. Adjusting the Onscreen Trackers The Analyze Motion, Stabilize, and Match Move behaviors share common onscreen and Inspector controls. Each track is represented by a single onscreen control: the tracker. Tracker Chapter 22 Motion Tracking 1319 The default onscreen tracker color is red. Depending on the color of your subject, you might need to change the color of the tracker to see the tracker in the Canvas. When the tracking analysis begins, a progress window opens and track points appear in the Canvas. The track points are the post-analysis motion path (the path that looks like a string of pearls) that appears in the Canvas. The track point at the current playhead position is emphasized. Note: Track points in the Canvas correspond to the tracking keyframes that appear in the Keyframe Editor. To position the tracker 1 Drag the tracker in the Canvas. As you drag, the area around the tracker in the Canvas is magnified and tracker coordinates appear in an info window. The magnified inset is a visual aid for positioning the tracker and does not represent a search area or region. The magnified inset also appears as a Tracker Preview area in the Behaviors Inspector. 2 Fine-tune the tracker position by doing one of the following: • Drag in the Tracker Preview area. 1320 Chapter 22 Motion Tracking As you drag in the preview area, the tracker in the Canvas also updates. Drag anywhere within the preview area If you use rotated footage, the rotation is not reflected in the Tracker Preview in the Inspector. The rotation is reflected in the magnified visual aid in the Canvas. • Click the track’s disclosure triangle at the bottom of the Behaviors Inspector, then use the Position controls to numerically adjust the tracker’s position. Note: You can Option-drag in the Tracker Preview area to override the pattern search size. Option–drag left to reduce the size of the search pattern in the Canvas, and Option–drag right to increase the pattern search size. Alternatively, you can modify the search size using the Track Size slider in the track parameters. To move multiple trackers at the same time µ Drag to select or Shift-select the trackers in the Canvas, then drag them to a new position. A selected tracker appears yellow. Note: Because you risk moving onscreen trackers when Shift-selecting, dragging to select may be a better option. To turn off onscreen trackers Do one of the following: µ Control-click a tracker in the Canvas, then choose Hide Selected Tracker from the shortcut menu. µ Deselect the relevant Track checkbox in the Behaviors Inspector. When the tracker is turned off, it is not used in the analysis. To turn on the onscreen trackers µ Select the relevant Track checkbox in the Behaviors Inspector. Chapter 22 Motion Tracking 1321 To change the color of the onscreen tracker 1 Select the tracker and open the Behaviors Inspector. 2 Click the track’s disclosure triangle and use the Color controls to change the color of the tracker. The Color Well Strategies for Better Tracking Selecting a good tracking reference feature in a movie or image sequence is pivotal in achieving an accurate track. Tracking a single reference pattern with a single analysis pass rarely yields a perfect result. More often, a successful track combines automatic and manual tracking, experimenting with parameter settings, and resetting reference points at various locations in the clip. Finding a Good Reference Pattern The first step in selecting a good reference pattern is to play the footage several times. As you review the clip, try to locate a reference pattern that follows as many of the following rules as possible: • It contains perpendicular edges, such as dots, intersections, and corners. Lines and straight boundaries should be avoided as tracking reference patterns. • It is a high-contrast pattern. • It contains even changes in brightness or color. An example of an uneven color or brightness change is a sharp-edged shadow that passes over your reference pattern. • It appears in every frame of the clip (does not move offscreen or become obscured by other objects). • It is distinct from other patterns in the same neighborhood in the clip. Manually Modifying Tracks You can manually modify track points. To adjust an onscreen track point 1 Position the playhead at the frame you want to modify. 1322 Chapter 22 Motion Tracking The track point at the playhead position is highlighted. 2 Do one of the following: • Drag the highlighted track point in the Canvas to adjust its position. • Drag in the Tracker Preview area in the Behaviors Inspector. For fine-tuning, you can zoom in and out of the clip using the Zoom tool. The zoom follows the pointer, so place the pointer on the track point in the Canvas and drag right to zoom in. Drag left to zoom out of the clip. To return to normal view, choose 100% from the Zoom Level pop-up menu (above the right side of the Canvas). If you have a Multi-Touch trackpad, pinch open or closed to zoom in or out, then scroll the zoomed view using two-finger swipes. You can also adjust a tracking curve in the Keyframe Editor. For more information on using the Keyframe Editor, see Keyframes and Curves. When Good Tracks Go Bad When an analysis is complete, you might need to retrack a portion of the clip. Rather than tracking over bad tracking keyframes, delete bad keyframes before retracking. If bad keyframes are not deleted, the tracker may continue to use the old reference point. Deleting Bad Keyframes in the Keyframe Editor You can delete bad tracking keyframes in the Keyframe Editor. To delete bad tracking keyframes 1 Position the playhead at the frame where you want to retrack the reference pattern. 2 In the Keyframe Editor, drag to select the keyframes you want to delete. If the Keyframe Editor is not visible, click the Show/Hide Keyframe Editor button in the bottom-left corner of the Motion project window. 3 Control-click in the Keyframe Editor, then choose Cut from the shortcut menu (or press Delete). 4 In the Canvas, drag the tracker to the reference point, then click Analyze. New track keyframes are created. Chapter 22 Motion Tracking 1323 Tip: When dealing with multiple problem trackers, you can turn off the trackers you are not correcting to simplify the Keyframe Editor. Additionally, when fine-tuning tracks in the Keyframe Editor, you can simplify what appears in the graph. The following image displays all curves for a simple four-corner pin. To solo a curve, Option-click the parameter’s checkbox in the Keyframe Editor’s parameter list. Deleting Track Points in the Canvas Bad track points can also be deleted in the Canvas. The track points in the Canvas represent keyframes in the Keyframe Editor. To delete bad track points in the Canvas during analysis 1 During analysis, press Esc to stop the tracking. 2 In the toolbar, ensure that the Adjust Item tool is selected. 3 Ensure that a track point is active in the Canvas. You can to zoom into the Canvas to better see the active track points. The track point at the current playhead position appears larger than other track points. Note: If you press Delete when a track point is not selected, the entire path is deleted. 1324 Chapter 22 Motion Tracking 4 Do one of the following: • Press Delete to delete the track point at the current position of the playhead. • Move the playhead to the frame where you want to begin deleting track points, and press Delete. Only active keyframes are deleted. To delete bad track points in the Canvas after analysis is complete 1 With the tracking analysis complete and the tracking behavior selected, move the playhead to the frame with the track point (or start of the track points) you want to delete. 2 In the toolbar, ensure that the Adjust Item tool is selected. 3 Ensure that a track point is active in the Canvas. You can zoom into the Canvas to better see the active track points. The track point at the current playhead position appears larger than other track points. 4 Press Delete. Each press of the key removes one track point. Tip: The direction in which track points are deleted is determined by the Reverse checkbox in the Behavior Inspector. When reverse is turned off, each track point you delete moves the playhead towards the beginning of the clip. When it is turned on, each track point you delete moves the playhead towards the end of the clip. Smoothing Tracking Keyframe Curves You can smooth a track with the Keyframe Thinning function in the Animation menu in the Keyframe Editor parameter list. Before smoothing the curve, you might want to copy the behavior (as a backup) to the Library or duplicate the behavior in the project. In the following graph, you can see that there’s a keyframe placed at every frame, and the curve is quite jagged. The following example, shows how you can smooth this curve. To smooth a track curve 1 In the Keyframe Editor, click in the fifth column of the parameter to open the Animation menu, then choose Reduce Keyframes. Chapter 22 Motion Tracking 1325 The Reduce Keyframes dialog appears. Reduce Keyframes applies a thinning algorithm to the keyframes for the parameter. This reduces the number of keyframes while attempting to maintain a similar shape to the curve. The thinning algorithm can be adjusted in two ways. Increasing the Error Tolerance results in fewer keyframes. Increasing the Smoothing (frames) makes smoother curves between keyframe values. This example uses 5, which means that 5 track points centered on the evaluated point are used to compute the current point’s new, smoothed value. This is a standard Gaussian (bell-curve type) filter. In other words, if you leave the Smoothing value at 5, when the value of frame 12 is computed, frames 10, 11, 12, 13, and 14 are considered. If Smoothing is set to 3, the algorithm uses frames 11, 12, and 13. The larger the Smoothing value, the more points are considered (and thus more calculations done) for every point in the curve. 2 Set the values in the Reduce Keyframes dialog. As you adjust the sliders or value sliders in the dialog, the curve is modified in the Keyframe Editor. There are now fewer keyframes on the curve, and the curve becomes smoother. 3 Click OK. Averaging a Track Curve Another smoothing option is to apply the Average parameter behavior to a track curve in the Keyframe Editor. This behavior smoothes the transition from one keyframe value to another. Averaged motion moves more fluidly. To apply an Average parameter behavior to a track curve µ In the parameter list of the Keyframe Editor, control-click the parameter name, then choose Average from the shortcut menu. 1326 Chapter 22 Motion Tracking The track is averaged, indicated by the simplified curve that appears behind the keyframes in the Keyframe Editor. For more information on using the Average parameter behavior, see Average. Converting Tracks to Keyframes Tracking data recorded or referenced by the Match Move, Stabilize, or Unstabilize behavior can be “baked” into keyframes on the transformed object. The tracking keyframes are applied to the tracked object and the behavior is deleted. You can then modify the animation curves in the Keyframe Editor. Because the Analyze Motion behavior does not transform the image, analyzed tracks cannot be converted into keyframes. However, a Match Move or Stabilize behavior that references data from an Analyze Motion behavior can be converted into keyframes. To convert a tracking behavior to keyframes 1 Select the Match Move, Stabilize, or Unstabilize behavior to convert. 2 Choose Object > Convert to Keyframes (or press Command-K). A dialog appears confirming the conversion. 3 Click OK. The behavior is converted into editable keyframes and the tracking behavior is deleted. For more information on converting behaviors to keyframes, see Converting Behaviors to Keyframes. For more information on using the Keyframe Editor, see Keyframes and Curves. Asking Motion for a Hint Motion can suggest good reference patterns. To display suggested tracking reference points µ Press the Option key, click a tracker in the Canvas, and hold down the mouse button. Note: You need at least one tracker in the Canvas to display suggested tracking reference points. Chapter 22 Motion Tracking 1327 The suggested reference points appear in the Canvas on the footage and in the magnified inset as small red plus signs. When you move a tracker toward a suggested point, the tracker snaps to the point. The suggested points are not necessarily ideal tracking reference points for the feature you want to track in the clip. Motion is merely picking locations in the current frame that meet the track point criteria, such as an area of high contrast. Giving Motion a Hint by Looking Ahead When using the Analyze Motion behavior, you can direct a tracker where to look in a later frame for its reference pattern. This tool is ideal for the following types of clips: • A clip that contains fast-moving features • A clip with subjects moving in a relatively straight vector (with or without obstructions) • A clip with swish pans (but you might need to reset the “look-ahead” tracker at each panning change) Important: If your track fails and you reposition your tracker, you must also reset the look-ahead tracker in the Canvas to provide a new motion vector from the new reference point. To define look-ahead frames 1 Apply an Analyze Motion behavior to a clip. 2 In the Canvas, position the tracker on a reference pattern. 1328 Chapter 22 Motion Tracking In the following image, the tracker is positioned on a reference pattern on the front bumper of the car. Tracker 3 In the Behaviors Inspector, use the Look Ahead Frames slider or value slider to specify how many frames you want the tracker to look ahead. Note: The maximum default for the Look Ahead Frames slider is 10 frames. However, you can enter a larger frame amount using the adjacent value slider. 4 While holding down the Command key, click the tracker in the Canvas, then drag in the direction the reference pattern is moving in the clip. As you Command-drag the track point, an inset displays a magnified view of the frame specified in the Look Ahead Frames parameter. 5 When the look-ahead tracker is positioned on the reference pattern, release the mouse button. When you click the Analyze button, the new reference point is used as the tracking pattern. Note: Look Ahead Frames can be used when tracking in reverse. When the Reverse checkbox is selected in the tracking behavior’s parameters and you use the Look Ahead Frames parameter, you are looking at previous frames rather than future frames. The Reverse checkbox is only available for the Analyze Motion, Track (in the Parameter behaviors category), and Track Points (in the Shape behaviors category) behaviors. Chapter 22 Motion Tracking 1329 Manually Coaxing Your Track with Keyframes When dealing with more challenging tracks, you can manually insert track position keyframes to help guide the tracker towards a reference pattern. For example, if you have a footage with significant motion blur or objects that partially obscure the tracking pattern, you can manually create tracker position keyframes to help guide the tracker. To manually coax a track using the Record button 1 Apply a Motion Tracking behavior to the clip, then enable Record (press A). 2 In the Canvas, position the tracker at the reference point you want to track. A track position keyframe is created in the behavior (visible in the Keyframe Editor). 3 Navigate to the next frame where you want to create a keyframe. Note: You can press Shift-Right Arrow key to jump forward ten frames, or press Shift-Left Arrow key to jump backward ten frames. 4 In the Canvas, position the tracker at the reference point you want to track. 5 Repeat steps 3 and 4 until you’ve completed the track. 6 In the Behaviors Inspector, click the disclosure triangle for the track you have manually adjusted, then choose Use Existing Keyframes from the Fail Behavior pop-up menu. 7 Turn off the Record button (press A). 8 Go to the first frame of the clip, then click the Analyze button in the behavior HUD or Inspector. Important: Even though keyframes are created, you must analyze the footage to obtain the tracking data. To manually coax a track without enabling Record 1 Apply a Motion Tracking behavior to the clip. 2 In the Canvas, position the tracker at the reference point you want to track. 3 Choose Object > Add Position Keyframe. This command is available for the Analyze Motion, Match Move, Stabilize (with manual trackers), Track Points (in the Shape behaviors category), and Track (in the Parameter behaviors category) behaviors. Note: Keyframes cannot be created for automatically stabilized footage. Use the Track Region option for adjusting automatic stabilization, or convert the stabilized footage to keyframes. For more information on the Track Region parameter, see Adjusting the Stabilize Behavior’s Track Region. For more information on converting tracking data to keyframes, see Converting Tracks to Keyframes. 4 Navigate to the next frame where you want to create a keyframe. Repeat steps 2–4 until you’ve completed the track. 1330 Chapter 22 Motion Tracking 5 In the Behaviors Inspector, click the disclosure triangle for the track you have adjusted, then choose Use Existing Keyframes from the Fail Behavior pop-up menu. 6 Go to the first frame of the clip, then click the Analyze button in the behavior HUD or Inspector. Note: You can also use the Tracker Preview in the Behaviors Inspector to reposition trackers in the Canvas. Important: Even though keyframes are created, you must analyze the footage to obtain the tracking data. Tracking Images with Perspective, Scale, or Rotational Shifts For images with significant change in size and angle, you can try a few different strategies. First, try using a larger search area. You can increase Motion’s default tracking search size using the Search Size parameter in the Behaviors Inspector. Click the track’s disclosure triangle to display the Search Size parameter. A second strategy is to lower the Fail Tolerance value. With a lower Fail Tolerance value, the tracker is more likely to find a false match. With a higher value, the tracker is more strict in finding a match. Click the track’s disclosure triangle to display the Fail Tolerance parameter. Another strategy is to jump to the midpoint frame of the clip and track forward to the end frame of the clip. Then return to the midpoint frame and track backward to the beginning of the clip. Tracking Obscured or Off-Frame Points Using Offset Tracking In addition to experimenting with tracker parameter settings, there is a basic technique to correct track points obscured by moving offscreen or by an object passing in front of them. The following sequence is a simple example of a candidate for offset tracking. As the car moves forward, it passes a tree that temporarily obstructs the reference pattern. When the reference pattern becomes obscured, the Offset Track checkbox lets you move the tracker, picking a new reference pattern in a different area from the original reference pattern. The offset between the original reference pattern and the new pattern is calculated to maintain continuity in the resulting track path. Chapter 22 Motion Tracking 1331 In the following example, the track is obscured by a tree, so the tracker is moved to a nearby reference pattern, and tracking continues until the original pattern reappears. Even though one region is examined, the points are saved in another region. The second tracking pattern should travel in the same direction as your original pattern. To offset (move) the onscreen tracker control to an unobstructed area of the image 1 Go to the frame where you want to begin the offset track. When a track is lost during an analysis, Motion jumps back to the frame where the track failed. The bad track point is identified by an “x” in the Canvas. You can use the bad track point, or any point before the failed track frame, to move the tracker and select a new reference feature. In the Canvas, the track point at the current playhead position is emphasized. The track point at the current playhead is highlighted. 1332 Chapter 22 Motion Tracking 2 Select the Offset Track checkbox in the HUD or Behaviors Inspector. Note: The Offset Track parameter is available in the Analyze Motion, Match Move, Stabilize, Track Points, and Track Parameter behaviors. Before the parameter becomes available in the Stabilize behavior, you must add a tracker using the Add button in the Inspector. 3 Drag the tracker to a new, unobscured reference pattern in the Canvas. 4 Click Analyze to restart the motion analysis. Motion continues to keyframe the trajectory of the original track point, based on the movement of the new offset reference pattern. Tip: When you use Offset Track, make sure that the new reference pattern is as close to the original tracking feature as possible. Ideally, the offset feature should share the same motion as the originally tracked feature and appear on the same subject. Note: When the pointer is positioned over a tracker in the Canvas, a tool tip displays the start frame for the tracking analysis. When you perform an offset track, the tool tip displays the frame where the offset track began (if the playhead is in the range of the offset track). Tracking Retimed Footage When working in a project that includes tracking and retiming tasks, use the following guidelines for more successful results: • Because the Motion tracker analyzes in a project’s frame rate, ensure that the frame rate of the footage you plan to track matches the frame rate of the project. For example, to track 24 frames-per-second (fps) footage, your project’s frame rate should be 24 fps. When the tracking analysis is completed, retime the clip using the Retiming parameters in the Media list or by using the Retiming behaviors. • Do not retime the footage before the tracking analysis. • Do not retime the footage, perform a tracking analysis, then retime the footage again. This may adversely affect your track. Note: To track a clip after it is retimed, export the retimed clip, then import it back into your project before you perform the tracking analysis. Troubleshooting Stabilizing Effects If the output of a stabilize operation is unsatisfactory, there are several things you can try to improve the result. Chapter 22 Motion Tracking 1333 Keeping It Real The automatic motion analysis (analysis without trackers) used by the Stabilize behavior works best with real images. Artificial images, such as those with no texture, are not recommended for use with the Stabilize behavior’s automatic mode. Shots with very strong pans are also not recommended. Adding Trackers to the Stabilization If a stabilized clip has a bumpy section that is not getting smoothed, you can add trackers to noncontiguous sections of a clip. Any stabilize data from the automatic motion analysis is overwritten by the portions of the clip analyzed using the onscreen trackers. To use a tracker for a portion of a stabilize operation 1 After the Stabilize motion analysis is complete, play the clip to determine the section you want to track. Important: Before adding any trackers, always review the entire clip. The Stabilize behavior needs meaningful data—a large range of frames—to yield the best results. 2 Set an Out point for the tracker analysis: Position the playhead at the frame where you want to stop the analysis, then choose Mark > Mark Play Range Out (or press Command-Option-O). 3 Position the playhead at the frame where you want to start the track, then click the Add button in the Inspector. 4 Position the newly added tracker on the reference pattern you want to track in the Canvas, then click the Analyze button in the HUD or Inspector. The specified play range is tracked, creating track points in the Canvas and tracking keyframes in the Keyframe Editor. Note: When using this strategy to track multiple noncontiguous sections of the clip, use the same tracker to simplify the track and to avoid clutter in the Keyframe Editor. This strategy is not recommended for small portions of the clip, such as using the default stabilization for 25 frames, a tracker analysis for 10 frames, and so on. Changing the Smoothing Parameters If you’re trying to smooth the motion in a clip, first try adjusting the smoothing parameters. These parameters include Translation Smooth, Rotation Smooth, and Scale Smooth. This can be accomplished without reanalyzing the clip. To display Smoothing parameters for the Stabilize behavior µ In the Behaviors Inspector, choose Smooth from the Method pop-up menu. The Translation Smooth, Rotation Smooth, and Scale Smooth sliders become available. 1334 Chapter 22 Motion Tracking Reanalyzing at a Higher Quality When analyzing, choose Better from the Quality pop-up menu in the Behaviors Inspector. This may take longer, but the quality of the analysis is higher. Editing the Analysis Data If neither of the prior solutions helps, look at the Analyze.Confidence parameter in the Keyframe Editor, then look for frames where the Confidence parameter falls to very low values. You can convert the Stabilize behavior to keyframes to create transform keyframes on the stabilized object. These keyframes can then be edited in the Keyframe Editor. Try deleting keyframes that create unusual spikes at the frames where the Confidence curve value was low. For more information on converting behaviors to keyframes, see Converting Tracks to Keyframes. Removing Black Borders Introduced by Stabilizing When you use the Stabilize behavior, the resulting transformations that smooth or stabilize the shot cause moving black borders to appear around the edges of the image. Although this is necessary to achieve the desired effect, you probably don’t want these black borders to appear in the final shot. There are a few ways to handle these borders. Zooming the Clip You can zoom the clip using the Borders pop-up menu in the Behaviors Inspector. The disadvantage of this method is the resulting softening of the image, depending on how much it must be enlarged. To zoom the clip µ In the Behaviors Inspector, choose Zoom from the Borders pop-up menu. The clip is expanded to the full size of the Canvas, preventing black borders from appearing around the edges. Scaling the Output Image to Fit the Original Frame Size If you want to output the resulting image at the same size as the original, the quickest fix is to scale the image after the Stabilize analysis. You’ll need to enlarge the image to the point where all instances of black borders fall outside the edges of the frame. Like the Zoom option (in the Borders pop-up menu), this method softens the image. Note: This workflow is a manual version of zooming the clip using the Zoom option from the Borders pop-up menu. To scale the stabilized image 1 Select the clip and open the Properties Inspector. 2 Adjust the Scale parameter so the borders no longer appear at the edges of the clip. Chapter 22 Motion Tracking 1335 Distorting the Edges One last suggestion is to experiment with filters to stretch the edges of the image to fill gaps. For example, you can experiment with the Scrape filter to stretch the edges of the image. This solution is highly dependent on the type of image and may introduce other image artifacts that may not be acceptable. In the following image, a large border is created when the clip is stabilized. Next, a Scrape filter is applied to the group in which the stabilized clip resides. The left image shows the clip when the filter is applied to the group. At first, it does not appear especially helpful. In the right image, the center and rotation of the filter are adjusted, removing the black edge by stretching the right edge of the image. Important: For this technique to have any effect, the filter must be applied to the clip’s group, not to the clip. Note: You might need to select the Fixed Resolution checkbox in the Group Inspector to ensure that the effect of the Scrape filter is not cropped. 1336 Chapter 22 Motion Tracking General Tracking Guidelines The Motion tracker uses the source image for its tracking analysis. This means that the tracker uses the best search area, the best color, the best contrast, subpixel accuracy, and so on in the clip to generate the best possible tracking data. Common tracking strategies, such as using filter tricks, manually resizing a tracking box or search area, or specifying a subpixel sampling amount are not required. This does not mean that you do not need work to achieve a perfect track. Use the following guidelines to help you decide what may assist you in your tracking analysis. What will help you: • Removing interlacing (fields) from the footage before tracking. To remove the fields from footage, select the footage in the Media list of the Project pane, click the Media list, then choose an option from the Field Order pop-up menu. Note: Interlacing can be present in clips stabilized using the automatic analysis mode in the Stabilize behavior. • Stabilizing a clip, exporting the clip, importing the clip, then stabilizing the clip again. • Sharpening or blurring a clip or an object with a filter, exporting the clip, importing the clip into the same group as the original footage, tracking the filtered clip, then using that tracking data as the source for other tracking behaviors. Note: Other filter tricks may be helpful, such as using a filter to isolate a less-noisy color channel of a clip or an object. • Setting the View resolution to a lower setting, which may speed the tracking analysis. What does not help you: • Applying any filter to a clip or object before tracking. • Soloing or isolating a tracked clip. This does not speed tracking analysis. • Adding multiple Stabilize behaviors. This does not help to further stabilize an analyzed clip, because the tracker analyzes the original source footage and not the analyzed clip (or a filtered clip). • Converting a track to keyframes and stabilizing again. • Selecting a tracking reference feature that does not change perspective, scale, or rotation. The Motion tracker handles changes in perspective, scale, and rotation very well. Tracking and Groups There are a few special considerations when tracking groups. Chapter 22 Motion Tracking 1337 Corner-Pinning Groups You can corner-pin groups using the Match Move behavior: • To corner-pin a 2D group, select the Fixed Resolution checkbox in the Group Inspector. • To corner-pin a 3D group, select the Flatten checkbox in the Group Inspector. If Flatten is not enabled for the group, the Four Corners option is not available from the Type pop-up menu in the Match Move parameters. When you choose Four Corners from the Type pop-up menu, Four Corner is enabled in the Properties Inspector, causing the group to be rasterized. For more information on rasterization, see Groups and Rasterization. Using either of the above techniques may still result in dynamic resizing. If you receive unwanted results, export the group, import the group, then corner-pin the object. Parallax in 3D Groups When match moving 3D groups that contain objects offset in Z space, parallax is simulated. Parallax is the apparent shift of an object against a distant background caused by a shift in perspective, such as a change in camera position. To remove a parallax effect, select the Flatten checkbox for the tracked group in the Group Inspector. Saving Tracks As with all behaviors in Motion, you can save tracking behaviors to the Library. However, a tracking behavior must reference the tracked source object. Therefore, it may make more sense to save the group that contains the tracking behavior, as well as the source footage, to the Library. To save a group to the Library 1 Open the Library and select the category where you want to save the group, such as the Favorites category. 2 Drag the group that contains the tracking behavior and its source (tracked) footage from the Layers list or Timeline into the stack at the bottom of the Library. The group is added to the Library category. To save a behavior to the Library 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 Drag the customized behavior you want to save from the Layers list, Timeline, or Inspector into the stack at the bottom of the Library. When you save a customized item to the Library, it is saved in the /Users/username/Library/Application Support/Motion/Library/ folder. For more information on saving behaviors to the Library, see Saving and Sharing Custom Behaviors. 1338 Chapter 22 Motion Tracking To add a group to a project from the Library 1 Open the Library and select the category that contains the group. 2 Do one of the following: • To nest the group in an existing group, drag it to the existing group in the Layers list. • To create a group, drag it to an empty area in the lower portion of the Layers list. The group is added to the project. To apply a behavior to a clip from the Library 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 Drag the behavior to the clip in the Layers list, Timeline, or Canvas. To reference another tracking behavior in a project 1 Add an Analyze Motion, Match Move, Stabilize, or Unstabilize behavior. 2 In the tracking behavior’s HUD or Inspector, choose a track from the tracking behaviors pop-up menu. The track is applied to the tracking behavior. Note: In a Stabilize behavior, only tracks from other Stabilize behaviors can be chosen from the tracking behaviors pop-up menu. Tracking Behavior Parameters The following section provides a detailed description of the parameters available in the different tracking behaviors. Note: Cloned objects cannot be tracked. Analyze Motion Controls The Analyze Motion behavior is designed for use with footage (a movie or image sequence). This behavior can be thought of as a traditional correlation tracker—you position an onscreen tracker on a reference pattern on a clip. The movement of the clip at the specified reference point is analyzed, and the analyzed data is saved in the behavior. The recorded data can then be applied to other objects in the project. The Analyze Motion behavior does not transform the input image. It is used to generate tracks that can be referenced by the Match Move, Stabilize, Track Parameter, and Track Shape behaviors. For information on using the Analyze Motion behavior, see General Motion Tracking Workflow. Note: Analyze Motion cannot reference other tracking behaviors. Chapter 22 Motion Tracking 1339 Important: The Analyze Motion behavior can only be applied to footage objects (a QuickTime movie or image sequence). Parameters in the Inspector Movement: The Movement parameters contain the Analyze and Reverse controls. • Analyze: This button, when clicked, begins the motion tracking analysis. When you click Analyze, a status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. • Reverse: This checkbox, when selected, reverses the analysis direction, going from the playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame where you want the reverse analysis to begin. Tracker: This button lets you add trackers to the Analyze Motion behavior. By default, one tracker is available. New trackers are added at the center of the Canvas. Tracker Preview: This preview area provides a magnified view of the tracking reference area for the selected tracker. The preview updates as you adjust the position of the tracker in the Canvas. You can drag in the preview area to adjust the position of the tracker. When dragging in the preview area, the image moves around the red crosshair that represent the tracker, while the tracker moves in the Canvas. You can also Option-drag left or right to decrease or increase pattern size. (You can also adjust the Track Size slider to achieve the same result.) Offset Track: This checkbox lets you select a new reference point when the original reference point becomes temporarily hidden or goes off the screen. Motion uses the new tracking point to continue the same tracking path as the original reference point. For more information on offset tracking, see Tracking Obscured or Off-Frame Points Using Offset Tracking. Auto-Zoom: This pop-up menu lets you choose a magnification level when positioning the tracker in the Canvas. You can zoom in on the Canvas when searching for an ideal tracking reference pattern. There are four choices: None, 2x, 4x, and 8x. Auto-Zoom Mode: This pop-up menu lets you set the display of the auto-zoomed tracker in the Canvas. There are three choices: • Normal: Displays a normal pattern. • Contrast: Displays the tracker pattern with contrast detection. • Edge: Displays the tracker pattern with edge detection. The Auto-Zoom Mode applies to trackers in the Canvas and does not appear in the Tracker Preview in the Behaviors Inspector. 1340 Chapter 22 Motion Tracking Note: When None is chosen from the Auto-Zoom pop-up menu, the Auto-Zoom Mode setting has no effect. Look Ahead Frames: This slider and value slider allow you to specify the number of future frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker. For more information on using Look Ahead Frames, see Giving Motion a Hint by Looking Ahead. Track list: This list displays the trackers in the behavior. In the Analyze Motion behavior, the trackers in this list are called Track 1, Track 2, and so on. To disable a tracker, deselect its checkbox. To remove a tracker, click the Remove button. A tracker that is turned off is not analyzed. Click the disclosure triangle next to the track name to reveal additional parameters: • Position: This parameter displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. • Track Size: This slider adjusts (in pixels) the pattern search size for the tracker. As you adjust the tracker size, the Tracker Preview is updated to show the new tracker size. There is no visual change in the Canvas tracker. To adjust the Track Size without exposing its parameters, Option-drag left in the Tracker Preview area to reduce the tracker size; Option-drag right to increase the tracker size. • Search Size: This slider increases or reduces the tracker’s search area size. In Motion, you do not specify the size of a search area when setting up trackers in the Canvas. To change the default search size, use the slider or value slider. If Search Size is set to 200 percent, the tracker’s search area is twice the default search area size. • Fail Tolerance: This parameter defines the amount of tolerance for error, or confidence value, of the tracker. In other words, it defines at what score the tracker determines it can match a reference feature. When above the score, the tracker accepts the match. When below the score, the tracker rejects the match. When the match is rejected, the Fail Behavior kicks in. • Fail Behavior: This pop-up menu specifies what happens if the track confidence value falls below the Fail Tolerance amount. The following options are available: • Smart Retry: The tracker attempts to find the reference pattern in a larger search area. If the pattern cannot be found, the tracker switches to the Predict option. Smart Retry is the default fail behavior. • Stop: The analysis stops when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. Chapter 22 Motion Tracking 1341 • Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. • Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. • Don’t Predict: The tracker remains in its position and searches for subsequent matches as the clip’s frames progress. While searching for a match, the tracker does not create keyframes. • Use Existing Keyframes: The tracker uses keyframes you have manually created as a guide. After manually adding keyframes, return to the start frame and start the tracking analysis. If the tracker has difficulty locating the track pattern, the manually created tracking keyframes are referenced to guide the tracker. • Color: This color control sets a new color for the onscreen tracker. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust individual color channels, including the tracker’s opacity, click the disclosure triangle. HUD Controls The Analyze Motion HUD contains controls to start the motion track (the Analyze button), reverse the direction of the track (the Reverse checkbox), and to specify an offset track (the Offset Track checkbox). Offset tracking allows you to reposition the tracker at a new reference pattern. Match Move Controls The Match Move behavior can be applied to many object types, including groups, cameras, shapes, particle emitters, and so on. Important: When applying the Match Move behavior to a group, make sure the footage being analyzed resides outside of the group being tracked. To use Match Move (and access its parameters), your project must contain a foreground and a background object. For information on using the Match Move behavior, see Match Move Workflows. Parameters in the Inspector Source: Drag the source object for the match move into this well. The source object can be another tracking behavior, an animated object, or a footage object. When a Match Move behavior is added to an object, the nearest animated object, recorded track, or footage object beneath the behavior in the Layers list appears in this well. To clear a Source well, drag the item away from the well and release the mouse button. When any nonfootage object (such as a shape or mask) is dropped in the Source well, the trackers are no longer available in Match Move. 1342 Chapter 22 Motion Tracking Note: When the Match Move behavior is applied to a mask, the masked object is selected as the source. Action menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Movement: The Movement parameters contain the Analyze and Reverse controls, which appear when there is a tracking source (footage) in the source well. • Analyze: Click the Analyze button to begin the motion tracking analysis. When you click Analyze, a status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. • Reverse: When the Reverse checkbox is selected, the clip is analyzed from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame where you want to begin the reverse analysis. Type: This pop-up menu allows you to choose between one-point, two-point, or four-point tracking. There are two options: • Transformation: This option allows one-point or two-point tracking, transforming the destination object. • Four Corners: This option enables four-point tracking, corner-pinning the destination object. When this option is chosen, the Direction and Adjust parameters are no longer available. Important: The Four Corners option is not available when Match Move is applied to a 3D group or a mask. To corner-pin a 3D group, select the Flatten checkbox in the Group Inspector. Direction: This pop-up menu specifies the dimension in which the recorded movement is applied to the destination object: Horizontal and Vertical (X and Y), Horizontal (only X), or Vertical (only Y). Chapter 22 Motion Tracking 1343 Transform: This pop-up menu sets how the destination object (the object to which the Match Move behavior is applied) moves. There are two options: • Attach to Source: This option anchors the foreground object to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the destination object to stick to a spot on the source object. Any animation that existed on the destination object before applying the track can be preserved by using the Adjust parameters (Position, Scale, and Rotation), available when Transformation is chosen from the Type pop-up menu. Note: Although the destination object is attached to the movement of the source object, the position of the destination object can be changed (offset from the source object). In the following example, Match Move is applied to the red pill shape and uses the animated white arrow as the source object. The white arrow has an applied Spin behavior and is spinning in a clockwise direction. Additionally, the arrow’s anchor point is positioned at the bottom of the arrow (at the opposite end from the tip). Arrow’s anchor point When Attach to Source is chosen from the Transform pop-up menu and Position and Rotation are selected in the Adjust parameter row, the red shape is anchored to one spot on the arrow (the tip, in this example) as it matches the movement of the arrow. 1344 Chapter 22 Motion Tracking • Mimic Source: This option allows the destination object to mimic the recorded track or animation source. Any animation that existed on the foreground object before applying the track can be added to the track by selecting Position, Rotation, or Scale in the Adjust parameters. Note: As with Attach to Source, the position of the destination object can be changed (offset from the source object). Additionally, the destination object can be scaled and rotated. In the following images, Mimic Source is chosen from the Transform pop-up menu and Position and Rotation are selected in the Adjust parameter row. The red shape is not locked to one spot on the white arrow, but rather mirrors the arrow’s animation. Mimic Source allows you to transform a tracked object in the Properties Inspector. For example, you can change the scale, position, or rotation of a corner-pinned object. Also when using Four Corners, Mimic Source allows you to adjust the trackers without adjusting the foreground image. Adjust: This parameter sets the type of transformation applied to the destination object. • Position: When enabled, the position of the source (or background) object is applied to the destination (or foreground) object, and the Anchor (position) tracker is turned on. • Scale: When enabled, the scale of the source (or background) object is applied to the destination (or foreground) object. The source track must include scale data for this parameter to have any effect. When Scale is enabled, the Rotation-Scale tracker is turned on. • Rotation: When enabled, the rotation of the source (or background) object is applied to the destination (or foreground) object. The source track must include rotation data for this parameter to have any effect. When Rotation is enabled, the Rotation-Scale tracker is turned on. Tracker Preview: This preview area appears only when there is a tracking source (footage) in the source well. Use the preview to see a magnified view of the tracking reference area for the selected tracker. The preview updates as you adjust the position of the tracker in the Canvas. You can also drag in the preview area to adjust the position of the tracker. When dragging in the preview area, the image moves around the red crosshairs in the preview and the tracker moves in the Canvas. Chapter 22 Motion Tracking 1345 Offset Track: This parameter appears only when there is a tracking source (footage) in the source well. If a tracker’s reference point becomes temporarily hidden or goes off the screen, this parameter allows you to select a different reference point that continues the same tracking path as the original reference point. For more information on offset tracking, see Tracking Obscured or Off-Frame Points Using Offset Tracking. Auto-Zoom: This parameter appears only when there is a tracking source (footage) in the source well. Choose an option from this pop-up menu to set the magnification level when positioning the tracker in the Canvas. This allows you to zoom in on the Canvas when searching for an ideal tracking reference pattern. There are four choices: None, 2x, 4x, and 8x. Auto-Zoom Mode: This parameter appears only when there is a tracking source (footage) in the source well. Choose an option from this pop-up menu to set the display of the auto-zoomed tracker in the Canvas. There are three choices: • Normal: Displays a normal pattern. • Contrast: Displays the tracker pattern with contrast detection. • Edge: Displays the tracker pattern with edge detection. The Auto-Zoom Mode applies to trackers in the Canvas and does not appear in the Tracker Preview in the Behaviors Inspector. When None is chosen from the Auto-Zoom pop-up menu, the Auto-Zoom Mode setting has no effect. Look Ahead Frames: This parameter appears only when there is a tracking source (footage) in the source well. This slider and value slider allow you to specify the number of future frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker. For more information on using Look Ahead Frames, see Giving Motion a Hint by Looking Ahead. Anchor/Rotation-Scale: Available when one-point or two-point tracking is enabled (when Transformation is chosen from the Type pop-up menu), these checkboxes turn the Anchor and Rotation-Scale trackers on or off. The anchor tracker records position data. When Position is enabled in the Adjust parameters, the Anchor tracker is turned on. Rotation and scale data are recorded by using the relationship between the Anchor and Rotation-Scale trackers. When Scale or Rotation is enabled in the Adjust parameters, the Rotation-Scale tracker is turned on. When the Match Move behavior references another behavior, such as Analyze Motion, the Anchor tracker becomes the Anchor pop-up menu. Likewise, the Rotation-Scale tracker (if there is one) becomes the Rotation-Scale pop-up menu. 1346 Chapter 22 Motion Tracking Click the Anchor or Rotation-Scale disclosure triangles to reveal additional parameters: • Position: Displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. • Track Size: Use this slider to adjust (in pixels) the pattern search size for the tracker. As you adjust the track size, the Tracker Preview is updated to show the new track size. There is no visual change in the Canvas tracker. To adjust the Track Size without exposing its parameters, Option-drag left in the Tracker Preview area to reduce the track size; Option-drag right to increase the track size. • Search Size: Use this slider or value slider to increase or reduce the tracker’s search area size. In Motion, you do not specify the size of a search area when setting up trackers in the Canvas. To change the default search size, use the slider or value slider. If Search Size is set to 200 percent, the tracker’s search area is twice the default search area size. • Fail Tolerance: This parameter defines the amount of tolerance for error, or confidence value, of the track. In other words, it defines at what score the tracker determines it is able to match a reference feature. When above the score, the tracker accepts the match. When below the score, the tracker rejects the match. After the match is rejected, the Fail Behavior kicks in. • Fail Behavior: This pop-up menu specifies what happens if the track confidence value falls below the Fail Tolerance amount. The following options are available: • Smart Retry: The tracker attempts to find the reference pattern in a larger search area. If the pattern cannot be found, the tracker switches to the Predict option. Smart Retry is the default fail behavior. • Stop: The analysis stops when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. • Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. • Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. • Don’t Predict: The tracker remains in its position and searches for subsequent matches as the clip’s frames progress. While searching for a match, the tracker does not create keyframes. • Use Existing Keyframes: The tracker uses existing keyframes. Use this option if you manually create track position keyframes to guide the tracker. After manually adding keyframes, return to the start frame and start the tracking analysis. If the tracker cannot locate the track pattern, the manually created tracking keyframes are referenced to guide the tracker. Chapter 22 Motion Tracking 1347 • Color: Click or Control-click the color well to set a color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust the individual color channels, including the tracker’s opacity, click the disclosure triangle. Rotation-Scale (pop-up menu): When the Match Move behavior references another behavior, such as Analyze Motion, the Rotation-Scale tracker becomes the Rotation-Scale pop-up menu. The tracker’s subparameters are replaced with a pop-up menu that allows you to select the tracker from the referenced behavior you want to apply as the Rotation-Scale tracker. By default, Track 2 is applied as the Scale-Rotation tracker. If there is only one tracker in the referenced behavior, Track 1 is applied to both Anchor and Rotation-Scale. Anchor (pop-up menu): When the Match Move behavior references another behavior, such as Analyze Motion, the Anchor tracker checkbox becomes the Anchor tracker. The tracker’s subparameters are replaced with a pop-up menu that allows you to select the tracker from the referenced behavior you want to apply as the Anchor tracker. By default, Track 1 from the referenced behavior is applied as the Anchor tracker. If there is only one tracker in the referenced behavior, Track 1 is applied to both Anchor and Rotation-Scale. When Match Move references another behavior, the trackers from the referenced behavior are applied to the Match Move trackers. Top Left: Available when four-point tracking is enabled (when Four Corners is chosen from the Type pop-up menu) and the Match Move behavior references another behavior (such as Analyze Motion), this pop-up menu allows you to select the tracker from the referenced behavior you want to apply as the top left tracker. Top Right: Available when four-point tracking is enabled (when Four Corners is chosen from the Type pop-up menu) and the Match Move behavior references another behavior (such as Analyze Motion), this pop-up menu allows you to select the tracker from the referenced behavior you want to apply as the top right tracker. 1348 Chapter 22 Motion Tracking Bottom Right: Available when four-point tracking is enabled (when Four Corners is chosen from the Type pop-up menu) and the Match Move behavior references another behavior (such as Analyze Motion), this pop-up menu allows you to select the tracker from the referenced behavior you want to apply as the bottom right tracker. Bottom Left: Available when four-point tracking is enabled (Four Corners is chosen from the Type pop-up menu) and the Match Move behavior references another behavior (such as Analyze Motion), this pop-up menu allows you to select the tracker from the referenced behavior you want to apply as the bottom left tracker. HUD Controls The Match Move HUD contains controls to load an animated object or tracking data from another tracking behavior (via the Source well or the tracking behaviors pop-up menu), to start the motion analysis (via the Analyze button), to reverse the direction of the track (via the Reverse checkbox), to offset the track (the Offset Track checkbox), to specify whether the destination object is four-corner pinned (the Type pop-up menu), and to choose what transform is applied to the destination object (via the Adjust parameter). Stabilize Controls The Stabilize behavior uses a different method to analyze movement in a clip than the Match Move and Analyze Motion behaviors. Generally, you do not use trackers to stabilize a clip. The behavior’s sophisticated method of motion estimation tracks every pixel in one frame to the subsequent frame. A motion vector is calculated based on this analysis. The analysis can be performed on the entire clip, or on a track region. A track region is a user-defined area of a clip that is analyzed. If the result of the analysis requires additional correction, you can perform manual tracking on noncontiguous time regions of the clip. For example, if an additional camera bump affects frames 350 to 380, you can add a tracker to analyze that portion of the clip. The data recorded from the analysis is added to the data recorded by the tracking to further smooth the clip. In addition to considering horizontal, vertical, or horizontal and vertical movement in the clip, the Stabilize behavior also looks at position, scale, and rotation. Note: The Stabilize behavior can only be applied to footage objects (a QuickTime movie or an image sequence). For information on using the Stabilize behavior, see Stabilize Workflow. Note: When Smooth is chosen from the Method pop-up menu, additional parameters become available in the HUD and Inspector. Chapter 22 Motion Tracking 1349 Parameters in the Inspector Source: To clear a Source well, drag the item away from the well and release the mouse button. Drag a source object for the behavior to this well. The source object can be another Stabilize behavior or a footage object. Action pop-up menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Note: When you select an option from the Action pop-up menu, the Add button, which allows you to add trackers, becomes unavailable. Movement: Click the Analyze button to begin the motion tracking analysis. When you click Analyze, a status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. When using the Stabilize behavior (without trackers), the track begins at the start of the clip, rather than the current playhead position. Quality: This pop-up menu defines the level of detail for the motion analysis. There are two options: • Faster: This option allows for a faster operation, but motion analysis is less detailed. • Better: This option provides a more detailed analysis, but is slower. This is the recommended option when the clip contains rotation. Track Region: Select this checkbox to define a subject or area to be analyzed. A red overlay appears in the Canvas. The area outside this overlay ignored. The track region’s onscreen controls are similar to a shape’s onscreen controls. For more information on using the Track Region, see Adjusting the Stabilize Behavior’s Track Region. Important: The Track Region must include some area in which the motion can be extracted. It should not be used as a mask for the object to track. Method: This pop-up menu defines how the stabilization is applied to the clip. There are two options: • Stabilize: This method attempts to lock the motion of the principal subject in the shot to eliminate motion. As a result, the background appears to move around the subject being tracked. • Smooth: This method smoothes the apparent motion of the camera, while allowing the general movement in the frame to proceed. It’s useful for removing jitter from a camera move. When enabled, this mode has three sliders for each dimension that can be smoothed. 1350 Chapter 22 Motion Tracking Translation Smooth: When Method is set to Smooth, use this slider to smooth motion in the X and Y dimensions. Rotation Smooth: When Method is set to Smooth, use this slider to smooth image rotation. Scale Smooth: When Method is set to Smooth, use this slider to smooth an uneven zoom. Note: Don’t set the Scale Smooth above 0 unless you’re positive that the clip is being zoomed. Borders: When a clip is stabilized, the resulting transformations made to the stabilized image may cause moving black borders to appear around the edges of the clip. This pop-up menu defines how the edges are handled. There are two options: • Normal: Maintains the size of the stabilized footage. The moving black borders remain around the edges of the clip. • Zoom: Expands the clip to the full size of the Canvas. This prevents black borders from appearing around the edges, but scales up the stabilized clip. Zoomed borders scale the stabilized clip so the clip does not move away from the edge of the Canvas. Direction: This pop-up menu specifies the dimension to which the recorded movement is applied to the analyzed image: Horizontal and Vertical (X and Y), Horizontal (only X), or Vertical (only Y). Adjust: This parameter allows you to choose the transformation to which the stabilization is applied. There are three Adjust buttons: • Position: When enabled, stabilize is applied to the position of the analyzed image. • Scale: When enabled, stabilize is applied to the scale of the analyzed image. • Rotation: When enabled, stabilize is applied to the rotation of the analyzed image. Tracker: Click the Add button to add trackers to the Stabilize behavior. By default, trackers are added at the center of the Canvas. A maximum of two trackers can be added to the Stabilize behavior. When added, Track 1 is used as the anchor (for position) and Track 2 is used for rotation-scale. Chapter 22 Motion Tracking 1351 After a tracker is added to a Stabilize behavior, the following occurs: • The Track Region parameter is no longer available. • The Reverse checkbox becomes available, allowing you to track a clip backwards. • The Tracker Preview, Offset Track, Auto-Zoom, Auto-Zoom Mode, Look Ahead Frames, and track list controls become available. For more information, see Analyze Motion Controls. Note: When another behavior is used as the source for the stabilization, you cannot add trackers to the Stabilize behavior. HUD Controls The Stabilize HUD contains controls to load another stabilize track into the behavior (via the Source well or the tracking behaviors pop-up menu), to start the motion analysis (via the Analyze button), to specify whether the clip is stabilized or smoothed (via the Method pop-up menu), to define how the stabilize clip is sized (via the Borders pop-up menu), and to choose what transform is applied to the analyzed clip (via the Adjust parameter). Unstabilize Controls The Unstabilize behavior is used to apply movement tracked in a Stabilize behavior applied to another object. This behavior does not perform tracking analysis. The Unstabilize behavior can be applied to many object types, including groups, cameras, shapes, particle emitters, and so on. For information on using the Unstabilize behavior, see Unstabilize Workflow. Parameters in the Inspector Source: Drag a Stabilize behavior to this well to load the data into the Unstabilize behavior. To clear a Source well, drag the item away from the well and release the mouse button. Note: Dragging other objects (such as footage) to the source well has no effect on the tracker. • Action pop-up menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Note: The Unstabilize behavior can be converted to keyframes. For more information, see Converting Tracks to Keyframes. HUD Controls The Unstabilize HUD contains two controls to load a stabilize track into the behavior: the Source well and the tracking behaviors pop-up menu. These controls are identical to the controls in the Inspector. 1352 Chapter 22 Motion Tracking Track Points Controls The Track Points behavior allows you to link the control points of a shape or mask (including paint strokes) to reference features on a source clip. This behavior also allows you to apply tracking data recorded by the Analyze Motion, Match Move, or Stabilize tracking behaviors to the control points of a shape or mask. The Track Points behavior can be found in the Behaviors’ Shape subcategory in the Library, or by choosing Shape > Track Points from the Add Behavior pop-up menu in the toolbar. For information on using the Track Points behavior, see Track Points Workflow. Parameters in the Inspector Source: Use to drag a source object for the track points to this well. The source object can be another tracking behavior, an animated object, or a footage object. To clear a Source well, drag the item away from the well and release the mouse button. • Action pop-up menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Transform: Use this pop-up menu to choose how the destination object moves. There are two options: • Attach to Source: This option anchors the foreground object to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the destination object to “stick” to a specific spot on the source object. Any animation that existed on the destination object before applying the track can be preserved by using the Adjust parameters (Position, Scale, and Rotation), available when Transformation is chosen from the Type pop-up menu. Note: Although the destination object is attached to the movement of the source object, the destination object can be offset from the source object. • Mimic Source: This option allows the destination object to “mimic” the recorded track or animation source. Any animation that existed on the foreground object before applying the track can be added to the track by selecting Position, Rotation, or Scale in the Adjust parameters. Note: As with Attach to Source, the destination object can be offset from the source object. Align Tangents: When this checkbox is deselected, tangents remain aligned at their original angles. When the checkbox is selected, the tangents match the transformation of the source animation, and the shape changes its form. Chapter 22 Motion Tracking 1353 Movement: The Movement parameters contain the Analyze and Reverse parameters. This parameter appears only when there is a tracking source (footage) in the source well. • Analyze: Click the Analyze button to begin the motion tracking analysis. A status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. • Reverse: When the Reverse checkbox is selected, the clip is analyzed from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame where you want to begin the reverse analysis. Tracker Preview: This preview area appears only when there is a tracking source (footage) in the source well. Use the preview to see a magnified view of the tracking reference area for the selected tracker. The preview updates as you adjust the position of the tracker in the Canvas. You can also drag in the preview area to adjust the position of the tracker. When dragging in the preview area, the image moves around the red crosshairs in the preview and the tracker moves in the Canvas. Offset Track: This parameter appears only when there is a tracking source (footage) in the source well. If a tracker’s reference point becomes temporarily hidden or goes off the screen, this parameter allows you to select a different reference point that continues the same tracking path as the original reference point. For more information on offset tracking, see Tracking Obscured or Off-Frame Points Using Offset Tracking. Auto-Zoom: This parameter appears only when there is a tracking source (footage) in the source well. Choose an option from this pop-up menu to set the magnification level when positioning the tracker in the Canvas. This allows you to zoom in on the Canvas when searching for an ideal tracking reference pattern. There are four choices: None, 2x, 4x, and 8x. Auto-Zoom Mode: This parameter appears only when there is a tracking source (footage) in the source well. Choose an option from this pop-up menu to set the display of the auto-zoomed tracker in the Canvas. There are three choices: • Normal: Displays a normal pattern. • Contrast: Displays the tracker pattern with contrast detection. • Edge: Displays the tracker pattern with edge detection. The Auto-Zoom Mode applies to trackers in the Canvas and does not appear in the Tracker Preview in the Behaviors Inspector. When None is chosen from the Auto-Zoom pop-up menu, the Auto-Zoom Mode setting has no effect. 1354 Chapter 22 Motion Tracking Look Ahead Frames: This parameter appears only when there is a tracking source (footage) in the source well. This slider and value slider allow you to specify the number of future frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker. For more information on using Look Ahead Frames, see Giving Motion a Hint by Looking Ahead. Track list: Tracks appear only when there is a tracking source (footage) in the source well. The Track List shows the trackers in the behavior as Track 1, Track 2, and so on. The number of trackers is determined by the number of control points on the shape with the applied Track Points behavior. For example, when a Track Points behavior is added to a shape with 12 control points, 12 trackers appear in the track list. When another track is referenced, the track list is replaced with Control Point pop-up menus. To disable a tracker, deselect its checkbox. To remove a tracker, click the Remove button. A tracker that is turned off is not analyzed with the track. Click the disclosure triangle next to the track name to reveal additional parameters: • Position: This parameter displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. • Track Size: Use this slider to adjust (in pixels) the pattern search size for the tracker. As you adjust the track size, the Tracker Preview is updated to show the new track size. There is no visual change in the Canvas tracker. To adjust the Track Size without exposing its parameters, Option–drag left in the Tracker Preview area to reduce the track size; Option–drag right to increase the track size. • Search Size: Use this slider or value slider to increase or reduce the tracker’s search area size. In Motion, you do not specify the size of a search area when setting up trackers in the Canvas. To change the default search size, use the slider or value slider. If Search Size is set to 200 percent, the tracker’s search area is twice the default search area size. • Fail Tolerance: Use this parameter to define the amount of tolerance for error, orconfidence value, of the track. In other words, it defines at what score the tracker determines it is able to match a reference feature. When above the score, the tracker accepts the match. When below the score, the tracker rejects the match. After the match is rejected, the Fail Behavior kicks in. • Fail Behavior: Use this pop-up menu to specify what happens if the track confidence value falls below the Fail Tolerance amount. The following options are available: • Smart Retry: The tracker attempts to find the reference pattern in a larger search area. If the pattern cannot be found, the tracker switches to the Predict option. Smart Retry is the default fail behavior. Chapter 22 Motion Tracking 1355 • Stop: The analysis stops when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. • Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. • Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. • Don’t Predict: The tracker remains in its position and searches for subsequent matches as the clip’s frames progress. While searching for a match, the tracker does not create keyframes. • Use Existing Keyframes: Use this option if you have manually created track position keyframes to guide the tracker. After manually adding keyframes, return to the start frame and start the tracking analysis. If the tracker has difficulty locating the track pattern, the manually created tracking keyframes are referenced to guide the tracker. • Color: Click or Control-click the color well to set a new color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust the individual color channels, including the tracker’s opacity, click the disclosure triangle. Control Points: When the Track Points behavior references another behavior, such as Analyze Motion, the Track list parameters are replaced with the Control Point pop-up menus. There is a pop-up menu for each control point on the shape. From the pop-up menus, choose the track you want to assign to a control point. Note: If you add or delete control points to a shape after you apply the reference track, select the Track Points behavior in Inspector or Layers list to refresh the Control Point pop-up menu list. Tip: To check the number of any control point on a shape, you can select the shape in the Layers list, choose the Edit Points tool from the toolbar, then click on a control point in the Canvas. HUD Controls The Track Points HUD contains controls to load an animated object or tracking behavior into the behavior (via the Source well or the tracking behaviors pop-up menu), to specify how the destination object moves, to start the motion analysis (via the Analyze button), to reverse the direction of the track (via the Reverse checkbox), and to offset the track (via the Offset Track checkbox). Track Parameter Behavior Controls The Track parameter behavior allows you to track the position parameter of an object (such as a filter, shape, or particle emitter) to a reference feature of a clip, or to apply tracking data to the position parameter of an object. 1356 Chapter 22 Motion Tracking The Track parameter behavior can be found in the Behaviors’ parameter subcategory in the Library, or by choosing Parameter > Track from the Add Behavior pop-up menu in the toolbar. For a description of the Tracker Preview, Offset Track, Auto-Zoom, Auto-Zoom Mode, Look Ahead Frames, and track list parameters, as well as tracker subparameters, see Analyze Motion Controls. For information on using the Track parameter behavior, see Track Parameter Workflow. Parameters in the Inspector Source: Drag the source object for the track to this well. The source object can be another tracking behavior or a footage object. Drag a behavior to the Source well to load that track into the Track parameter behavior. To clear a Source well, drag the item away from the well and release the mouse button. Note: An animated object cannot be used as a source for the Track parameter behavior. • Action pop-up menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Transform: This pop-up menu allows you to choose how the selected position parameter moves. There are two options: • Attach to Source: This option anchors the position of the object to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the filter’s center to stick to a specific spot on the source object. Any animation that existed on the filter’s center before applying the track can be preserved by using the Adjust parameters (Position, Scale, and Rotation), available when Transformation is chosen from the Type pop-up menu. Note: Although the object’s position is attached to the movement of the source object, its position can be offset from the source object. • Mimic Source: This option allows the object to mimic the recorded track or animation source. Any animation that existed on the foreground object before applying the track can be added to the track by selecting Position, Rotation, or Scale in the Adjust parameters. Note: As with Attach to Source, the object’s position can be offset from the source object. Movement: Click the Analyze button to begin the motion tracking analysis. A status window displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. Chapter 22 Motion Tracking 1357 The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. Reverse: Click the Reverse checkbox to analyze the clip in reverse, from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame where you want to begin the reverse analysis. Tracker Preview: Use this preview area to see a magnified view of the tracking reference area for the selected tracker. The preview updates as you adjust the position of the tracker in the Canvas. You can also drag in the preview area to adjust the position of the tracker. When dragging in the preview area, the image moves around the red crosshairs in the preview and the tracker moves in the Canvas. Offset Track: If a tracker’s reference point becomes temporarily hidden or goes off the screen, use this parameter to select a different reference point that continues the same tracking path as the original reference point. For more information on offset tracking, see Tracking Obscured or Off-Frame Points Using Offset Tracking. Auto-Zoom: Choose an option from this pop-up menu to set the magnification level when positioning the tracker in the Canvas. This allows you to zoom in on the Canvas when searching for an ideal tracking reference pattern. There are four choices: None, 2x, 4x, and 8x. Auto-Zoom Mode: Choose an option from this pop-up menu to set the display of the auto-zoomed tracker in the Canvas. There are three choices: • Normal: Displays a normal pattern. • Contrast: Displays the tracker pattern with contrast detection. • Edge: Displays the tracker pattern with edge detection. The Auto-Zoom Mode applies to trackers in the Canvas and does not appear in the Tracker Preview in the Behaviors Inspector. Note: When None is chosen from the Auto-Zoom pop-up menu, the Auto-Zoom Mode setting has no effect. Look Ahead Frames: Use this slider and value slider to specify the number of “future” frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker. For more information on using Look Ahead Frames, see Giving Motion a Hint by Looking Ahead. Track list: Use this list to see the trackers in the behavior. To disable a tracker, deselect its checkbox. A tracker that is turned off is not analyzed with the track. When another track is referenced, the track list is replaced with a Tracker pop-up menu. 1358 Chapter 22 Motion Tracking Click the disclosure triangle next to the track name to reveal additional parameters: Position: Displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. Track Size: Use this slider to adjust (in pixels) the pattern search size for the tracker. As you adjust the track size, the Tracker Preview is updated to show the new track size (there is no visual change in the Canvas tracker). To adjust the Track Size without exposing its parameters, Option–drag left in the Tracker Preview area to reduce the track size; Option–drag right to increase the track size. Search Size: Use this slider or value slider to increase or reduce the tracker’s search area size. In Motion, you do not specify the size of a search area when setting up your trackers in the Canvas. To change the default search size, use the slider or value slider. If Search Size is set to 200 percent, the tracker’s search area is twice the default search area size. Fail Tolerance: Use this parameter to define the amount of tolerance for error, or confidence value, of the track. In other words, this parameter defines at what score the tracker determines it is able to match a reference feature. When above the score, the tracker accepts the match. When below the score, the tracker rejects the match. When the match is rejected, the Fail Behavior kicks in. Fail Behavior: Use this pop-up menu to specify what happens if the track confidence value falls below the Fail Tolerance amount. The following options are available: • Smart Retry: The tracker attempts to find the reference pattern in a larger search area. If the pattern cannot be found, the tracker switches to the Predict option. Smart Retry is the default fail behavior. • Stop: The analysis stops when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. • Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. • Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. • Don’t Predict: The tracker remains in its position and searches for subsequent matches as the clip’s frames progress. While searching for a match, the tracker does not create keyframes. • Use Existing Keyframes: The tracker uses manually added keyframes as a guide during analysis. After you add keyframes, return to the start frame and start the tracking analysis. If the tracker cannot locate the track pattern, the manually created tracking keyframes are referenced to guide the tracker. Chapter 22 Motion Tracking 1359 Color: Click or Control-click the color well to set a color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust individual color channels, including the tracker’s opacity, click the disclosure triangle. Tracker pop-up menu: When the Track parameter behavior references another behavior, such as Analyze Motion, the Track list parameters are replaced with the Tracker pop-up menu. Select the tracker you want to apply from the referenced tracking behavior to the position parameter of the affected object from this menu. Apply To: Click the Go pop-up menu to apply parameter to the track. For example, if the Track parameter is applied to the X Position parameter of the tracked object and you want to apply the data to the X and Y Position parameters, click Go and choose > Properties > Transform > Position > X and Y. HUD Controls The Track parameter HUD contains controls to load a tracking behavior into the behavior (via the Source Behavior well or the tracking behaviors pop-up menu), to specify how the position parameter moves, to start the motion analysis (via the Analyze button), to reverse the direction of the track (via the Reverse checkbox), and to offset the track (via the Offset Track checkbox). 1360 Chapter 22 Motion Tracking Sound is an integral part of many motion graphics projects. Use audio in your project for background music, dialogue, or scratch tracks. This chapter covers the following: • About Audio in Motion (p. 1361) • Audio Files in Motion Projects (p. 1362) • Working with Audio Tracks (p. 1370) • Keyframing Level and Pan Changes (p. 1376) • Crossfading Audio Tracks (p. 1377) • Syncing Audio and Video Tracks (p. 1377) • Retiming Audio (p. 1377) • Using Markers with Audio (p. 1380) • Audio Behaviors (p. 1380) • Audio Parameter Behavior (p. 1382) About Audio in Motion You can add audio files to your project and use markers and keyframes to sync the audio with other events in your project. You can import several types of audio files, including the audio tracks from QuickTime movie clips. For each mono audio file you add to a project, Motion creates a single audio track. You can import multichannel audio files and have Motion create a single audio track for each channel. Individual audio tracks have independent controls you can use to turn them on and off, to select and play individual tracks, to mute and solo tracks, to control links between audio and video objects, and to control volume and pan settings. 1361 Working with Audio 23 At the bottom of the Audio list, a Master track provides controls for the overall mix (all audio tracks combined into one), with its own set of controls for controlling volume, pan, muting, and audio linking. Individual audio tracks Master mix track You can export audio with video, or export audio alone, in various formats. Audio Files in Motion Projects You can add different kinds of audio files to a Motion project. In addition, Motion lets you preview files before adding them to your project and lets you view the audio files in a project in several ways. Import File Formats Motion supports audio in a variety of common file formats, sample rates, and bit depths. Supported import file formats include: • CAF • AIFF • WAV • AAC (except rights-protected AAC files) • QuickTime Audio (.mov) Note: Multitrack QuickTime movie files and multichannel audio files are also supported. You can import audio files with sample rates up to 192 kHz and with bit depths up to 32 bits. Mono and stereo files are supported. Note: Because MP3 and AAC are compressed file formats, playback quality may not be as high as with uncompressed formats such as AIFF. 1362 Chapter 23 Working with Audio When you add an audio file to your project, Motion converts it to its own internal format. This allows you to use audio files with different formats, sample rates, and bit depths in the same project. When you export your project, the audio is exported according to the current audio settings in the Export dialog. Previewing an Audio File You can listen to, or preview, an audio file in the File Browser before adding it to a project. To preview an audio file µ In the File Browser, select an audio file. If “Play items automatically on a single click” in the General pane of Motion Preferences is selected, the file begins to play. If the file does not play, move the pointer over the preview area and click the Play button over the image thumbnail. While the file is playing, you can click the Play button again to pause playback or click the Mute button to mute/unmute the sound. Adding an Audio File To work with audio in Motion, you start by adding an audio file to the project. To add an audio file to a project Do one of the following: µ Drag an audio file from the File Browser or the Finder into the Layers list, Timeline, Canvas, Audio Timeline, or Audio list. The audio file is added to the project and appears in the Audio Timeline, Audio list, mini-Timeline, and Media list. Note: To display the Audio Timeline, click the Show/Hide Audio Timeline button in the lower-right corner of the Motion project window. Click to display audio tracks in the Timeline. µ In the Audio list, click the Add button (+), locate the file you want to add in the Import Files dialog, then click Import. Chapter 23 Working with Audio 1363 The audio file is added to the project and appears in the Audio Timeline, Audio list, mini-Timeline, and Media list. To add an audio file from iTunes 1 In the Library, select the Music category. 2 Select a playlist, then select a song in the file stack. 3 Do one of the following: • In the preview area, click Apply. • Drag the file to the Layers list, Canvas, Timeline, Audio Timeline, or Audio list. Note: Rights-protected AAC files cannot be imported into Motion and do not appear in the file stack. This includes non-iTunes Plus music purchased from the iTunes Store. The audio file is added to the project and appears in the Audio Timeline, Audio list, mini-Timeline, and Audio list. The start point of the audio file is determined by the Create Layers At preference in the Project pane of Motion Preferences. If set to “Start of project,” the file is placed at the beginning of the project. If set to “Current frame,” the file is placed at the current location of the Timeline playhead. A HUD for the audio appears. Note: If the HUD does not appear, press D or F7. You can also add an audio file to your project without having it appear in the composition. For example, you might want to archive an audio file for later use. You do this by dragging the file into the Media list. To add an audio file to a project for later use µ Drag an audio file from the File Browser or the Finder into the Media list. The audio file is added to the Media list, but not to the Audio Timeline or Audio layer. If you later decide to add the file to the active composition, drag the audio layer from the Media list to the Canvas, Timeline, or Audio Timeline. When you drag a QuickTime movie into the Canvas or the Layers list of the Project pane, the movie’s video and audio tracks are imported into your project. You can choose to add only the audio track of a QuickTime movie. To add only the audio track from a QuickTime movie µ In the File Browser or in the Finder, locate the QuickTime movie file, then drag it into the Audio list of the Project pane. 1364 Chapter 23 Working with Audio The audio track from the movie is added to your project, without the video footage. The video footage is added to the Media list. If the QuickTime movie contains multiple audio tracks, drag the file over the Audio list, the Canvas, or the Timeline layer list, holding down the mouse button until the drop menu appears. To import the file with a single audio track, choose Mix To Stereo. To import the file with individual tracks, choose Import All Tracks. For more information, see Importing Multichannel Audio to Motion below. Importing Multichannel Audio to Motion Multichannel audio files can be imported as a single track or as individual tracks. The same applies to QuickTime movie files that contain multiple audio tracks, including files with stereo audio tracks. Because Motion treats multichannel audio files and multitrack QuickTime files identically, references to QuickTime files in this chapter also apply to multichannel audio files, and vice versa. When importing a multitrack QuickTime movie file, you can import the audio portion of the file as a single audio track or as individual tracks. When you add any media file to Motion, an audio track appears that can be used independently of the video file. When the file is unlinked from its source, a track can be individually enabled, disabled, or deleted. However, deleting a source QuickTime movie file from the Media list, deletes all audio and video that originated from that file. Note: When you export a multichannel audio file from Motion, you may choose whether to export all channels or mix them down into a single track. To import a stereo QuickTime movie file using the drop menu 1 Drag the file from the File Browser or the Finder to the Canvas, holding down the mouse button until a drop menu appears. 2 Do one of the following: • To import the movie with a single audio track, choose Mix To Stereo, then release the mouse button. • To import the movie file with a single audio track for each track, choose Import All Tracks, then release the mouse button. Chapter 23 Working with Audio 1365 When you choose Mix To Stereo, the file appears in the Audio list as a single audio track and the video appears in the Canvas (and Layers list). The link icon in the Audio list (next to the lock icon) indicates that the audio object has a corresponding video element. Activation checkbox Name field Solo Link Lock Pan dial Mute Level slider Output channel pop-up menu Note: When a stereo QuickTime file is imported without using the drop menu, Mix To Stereo is the default import method. To import a QuickTime movie file with more then two tracks of audio µ Drag the file from the File Browser or the Finder to the Canvas. Each audio track is imported as an individual audio object in the Audio list. Important: Audio tracks from files with more then two tracks of audio (such as 5.1 surround audio) import as individual audio objects. The link icon for the object also appears in the Layers list, indicating that the object has a corresponding audio element. 1366 Chapter 23 Working with Audio When you choose Import All Tracks from the drop menu, the file appears in the Audio list with an individual audio track for each track in the file. The following image shows the Audio list after importing a stereo QuickTime movie file using the Import All Tracks option, with the resulting left and right tracks. To import a multitrack QuickTime movie file using the Import command 1 Choose File > Import (or press Command-I). 2 In the Import File dialog, select the QuickTime file. 3 Choose an import option from the Audio pop-up menu (located at the bottom of the Import Files dialog), then click Import. The file is imported with your chosen option. Important: Audio tracks from files with more then two tracks of audio (such as 5.1 surround audio) cannot be mixed to stereo. All audio tracks are imported as individual audio objects. Viewing Audio Files You can view a list of all audio tracks in your project and the audio waveform for an individual track. You can also view information about each track, including its duration, sample rate, and file size. In the Audio list, each channel in a multichannel audio file—or each track in a multitrack file—can be selected separately. To view a list of your project’s audio tracks µ In the Project pane, open the Audio list to see the audio files in your project. Chapter 23 Working with Audio 1367 To view the waveform of an audio track µ Select an audio file or channel of a multichannel file in the Audio list, then do one of the following: • Click the Show/Hide Audio Timeline button in the lower-right corner of the Motion project window. The Audio Timeline opens (in the Timing pane), displaying a green bar containing the waveform of the file, if the Audio Timeline row size is tall enough. If the bar does not show a waveform, adjust the height of the tracks. For more information about how to adjust Timeline tracks, see Showing and Hiding Effects. Important: In a multichannel audio file, all audio channels in the file appear in the Audio Timeline. • Click the Show/Hide Keyframe Editor button in the lower-right corner of the Motion project window, then choose an option from the waveform pop-up menu at the top-right side of the Keyframe Editor. The waveform of the track appears in the Keyframe Editor, along with keyframes, if the Timeline tracks are tall enough. Note: If there are multiple audio tracks in the project, by default only the waveform of the master track appears in the Keyframe Editor. To view individual tracks, choose a track name from the waveform pop-up menu at the top-right side of the Keyframe Editor. To view information about your project’s audio files Do one of the following: µ In the Project pane, open the Media list. µ Select the audio file in the Media list, then open the Media pane in the Inspector. The Media list in the Project pane and the Media pane in the Inspector display information about each audio file, including kind, duration, sample rate, format, file size, and other details. Cutting, Copying, and Pasting Audio Tracks You can cut, copy, and paste audio tracks in the Audio list. You can also duplicate tracks. 1368 Chapter 23 Working with Audio To cut an audio track µ In the Audio list, select the audio track, then do one of the following: • Choose Edit > Cut (or press Command-X). • Control-click the track, then choose Cut from the shortcut menu. To copy an audio track µ In the Audio list, select the audio track, then do one of the following: • Choose Edit > Copy (or press Command-C). • Control-click the track, then choose Copy from the shortcut menu. To paste an audio track µ In the Audio list, do one of the following: • Choose Edit > Paste (or press Command-V). • Control-click an empty area, then choose Paste from the shortcut menu. To duplicate an audio track µ In the Audio list, select the audio track, then do one of the following: • Choose Edit > Duplicate (or press Command-D). • Control-click the track, then choose Duplicate from the shortcut menu. The duplicate appears below the original file in the Audio list. Deleting an Audio Track There are two ways to remove an audio track from your project. To delete an audio track µ In the Audio list, select the audio track, then do one of the following: • Press Delete. • Control-click the file to remove, then choose Delete from the shortcut menu. If you try to delete an audio file with linked video, an alert dialog appears, warning: “One or more linked video objects will also be deleted. Are you sure you want to delete the audio? You can delete just the audio by first unlinking it from the video.” Note: Deleting a track from the Audio list removes the associated file from the Media list if “Automatically manage unused media” is selected in the General pane of Motion Preferences. Chapter 23 Working with Audio 1369 Working with Audio Tracks When you add an audio file to your project, Motion creates one or more audio tracks for the file. In the Audio list of the Project pane, you can turn audio tracks on and off, select tracks, mute and solo tracks, and control their volume and pan settings. Activation checkbox Name field Solo Link Lock Pan dial Mute Level slider Output channel pop-up menu Important: Changes you make to an audio track, such as renaming or trimming it, do not affect the source audio file. The following list summarizes audio controls available to individual audio tracks: • To select an audio track: Click in the row containing the track’s name and controls in the Audio list or Audio Timeline. Selected tracks are highlighted. You can select multiple tracks by Shift-clicking. • To turn an audio track on or off: Click the activation checkbox on the left side of the track. (You can also click the activation checkbox to the left of the track’s name in the Audio Timeline). Turning off an audio track removes it from the audio mix. • To rename a track: Double-click the track’s name, then enter a new name. • To adjust a track’s audio volume: In the Audio list, the track’s HUD, or the Audio Track Inspector, drag the Level slider to set the level you want. You can also change the parameter numerically using the value field to the right of the Level slider in the Audio Track Inspector. • To pan a track, changing its position: Adjust the Pan dial left or right. (In the Audio Track Inspector or Audio Track HUD, drag the Pan slider left or right). • To mute a track, temporarily silencing it during playback: Click the Mute button. When you mute an audio track, it is silent during playback, but is still part of the mix when you export your project. You can also mute tracks in the Audio Timeline by Control-clicking a track and choosing Mute from the shortcut menu. • To solo a track, temporarily muting all other tracks: Click the Solo button. When you solo an audio track, all other audio tracks are muted, which lets you hear the soloed track more clearly. If you solo multiple audio tracks, all tracks not soloed are muted (silent) during playback. 1370 Chapter 23 Working with Audio • To unlink a track: Click the link icon. Unlinked audio can be moved independently of its accompanying video track in the Timeline. Click the link icon again to relink it to the same video track it was originally linked to. If you’ve offset its position in the Timeline, the offset is maintained when the audio track is linked again. • To lock a track, preventing it from being edited: Click the lock icon on the right side of the track. Click the lock icon again to unlock the track. When a track is locked, you cannot mute or solo the track, change its level or pan, move or trim it, or add keyframes. You can still play the track, and turn it on or off. Selecting Output Channels If you’re working with multichannel audio, you can adjust which tracks are assigned to which output channels, or you can create your own multichannel file from mono tracks. To set or change output channels for an audio track 1 Choose 5.1 Surround or Stereo from the output channel pop-up menu in the Master track area at the bottom of the Audio list. 2 Choose an output channel for a specific audio track from the output channel pop-up menu in the Audio list). Note: If you do not have surround-sound hardware, the Center, LFE, Left Surround, and Right Surround output channels are italicized. You can still select those channels, and your choices are reflected in an exported project or playback on a system that has the necessary hardware. Chapter 23 Working with Audio 1371 Working with the Master Track Each project has a Master audio track. The controls for the Master track are located at the bottom of the Audio list, below the individual audio tracks. Using the Master track’s controls, you can make changes that affect the final mixed output of all audio tracks. For example, you can lower the volume of all tracks at once, or pan all tracks to the left or right. In addition, you can turn the Master track on or off, or mute it. Pan dial Level slider Level meters Clipping indicators Link icon Mute button Lock icon Audio output pop-up menu You select the Master track by clicking its area at the bottom of the Audio list. When selected, the Master track area appears highlighted. Turning the Master Track On or Off The Master track is turned on by default. When its activation checkbox is deselected, no sound is audible when you play the project, and no audio is included when you export your project. When the checkbox is selected, all audio tracks that are active are included in your export. To turn the Master track on or off µ Click the checkbox at the left side of the Master track, then click the checkbox again to return the Master track to its previous state. Setting Master Level You can use the master Level slider to set the overall volume level for the audio in your project. To set the master level µ Drag the master Level slider to set the level you want. The master level works with the level setting for each track. For example, if you set a track’s level to 0.5 and you set the master level to 0.5, the combined level is 0.25 (one-fourth) of the original. Note: If you raise an individual track’s level and the master level so the combined increase is greater than 2, you may cause audio distortion, or clipping. Viewing the Master Level At the right of the Master track controls is a pair of stereo level meters that display the combined level of all audible tracks. 1372 Chapter 23 Working with Audio If either of the two red dots above the level meters (called clipping indicators) lights up during playback, this indicates that your master levels are too high, causing audio distortion or clipping. Preventing Clipping Typically, when working with digital audio, audio engineers set the overall volume level as high as possible without causing clipping. If the clipping indicators light up above the master level meters, you need to find where clipping is occurring and lower the level to eliminate the cause of the clipping. If clipping occurs, play the project and observe where the clipping indicators light up. You can solo each audio track to determine which track is causing the clipping. After you determine which track is causing the clipping, you can lower the track’s overall level, or use keyframes to lower the track’s level at the specific point where clipping occurs. The clipping indicators are “sticky,” meaning that when they light up, they stay lit until you reset them or close the project. This helps remind you to find and eliminate the cause of the clipping before you export your project. As you work to eliminate clipping, reset the clipping indicators and play the project again to make sure clipping no longer occurs. To reset the clipping indicators µ Click the lit clipping indicator. Setting Master Pan You can use the Pan dial in the Master track to set the left-right pan position for the audio. To set the master pan position µ Adjust the Pan dial to place the sound where you want it in the stereo field. The Pan dial in the Master track works with the pan setting for each track. For example, if you pan a track to –100 (hard left) and you pan the master to 100 (hard right), the track is inaudible. Playing Audio When you click the Play button in the transport controls underneath the Canvas, you hear the audio tracks in your project play in time with your visuals. You can also play an audio track separately from the project Timeline. To play audio with your project µ Click the Play button in the transport controls. When you click the Play button, you hear all audio tracks in the project that are turned on and are not muted. Chapter 23 Working with Audio 1373 Slipping and Sliding Audio Tracks When you import an audio file, its start point is placed at the start of the project or at the current playhead position (depending on the setting of the Create Layers At parameter in Motion preferences). You can slide an audio track in the Audio Timeline or mini-Timeline so the track starts playing at a different point in time. And you can slip a trimmed audio track in the Audio Timeline or mini-Timeline so a different range of media plays at the same location. To slide an audio track µ Select a track in the Audio list, then drag the track’s green bar to the left or right in the mini-Timeline. µ Click the Show/Hide Audio Timeline button in the lower-right corner of the Motion project window, then drag the track’s bar to the left or right in the Audio Timeline. To slip an audio track in the mini-Timeline 1 In the Audio list, select the track. The track’s timebar appears in the mini-Timeline. 2 With the pointer over the bar in the mini-Timeline, hold down the Option key so the slip pointer appears, then drag left or right to slip the In and Out points. As you drag, a dimmed bar representing the full range of the audio clip appears over the green bar, and a tooltip appears, showing the In and Out points for the track. Note: You can only slip media that has had its In or Out points trimmed. To slip an audio track in the Audio Timeline 1 Click the Show/Hide Audio Timeline button in the lower right-corner of the Motion project window. 2 With the pointer over the green bar in the Audio Timeline, hold down the Option key so the slip pointer appears, then drag left or right to slip the In and Out points. 1374 Chapter 23 Working with Audio As you drag, a dimmed bar representing the full range of the audio clip appears over the green bar, and a tooltip appears, showing the In and Out points for the track. Note: You can only slip media that has had its In or Out points trimmed. Trimming Audio Tracks You can edit the start and end points of an audio track to cut down the length of the audio in the track, or to start or it end at a specific point in time. This is called trimming the track. Trimming an audio track is nondestructive and does not affect the original audio file. To trim an audio track visually in the mini-Timeline 1 In the Audio list, select the track to trim. The track’s green timebar appears in the mini-Timeline. 2 Hold the pointer over the beginning or end of the timebar in the mini-Timeline until the trim pointer appears, then drag left or right to trim the In or Out point for the track. As you drag, a tooltip shows you the new In or Out point and the duration of the modified track. To trim an audio track visually in the Audio Timeline 1 Click the Show/Hide Audio Timeline button in the lower-right corner of the Motion project window. The Audio Timeline appears. 2 Position the pointer over the beginning or end of the timebar in the Audio Timeline until the trim pointer appears, then drag left or right to trim the In or Out point for the track. As you drag, a tooltip shows you the new In or Out point and the duration of the modified track. To trim an audio track numerically 1 In the Audio list, select the audio file to trim. 2 Open the Properties Inspector and show the Timing parameters. 3 Alter the In, Out, or Duration parameters to change the duration of the audio in your project. Scrubbing an Audio Track You can scrub an audio track to hear the audio in your project as you move the playhead. Chapter 23 Working with Audio 1375 To scrub an audio track µ Hold the Option key down while dragging the playhead right or left in the mini-Timeline or Audio Timeline. µ Pausing the pointer in the middle of a drag while holding the Option key down loops the five frames adjacent to the current frame. Note: Audio looping while scrubbing is turned on by default. You can turn off looping by choosing Motion > Preferences, clicking the Time icon, then deselecting the “Loop audio while scrubbing” checkbox. Keyframing Level and Pan Changes Each audio track has curves for level and pan, and you can add and edit keyframes to automate level and pan changes over time. This lets you create fade-ins and fade-outs, drop audio levels for voiceovers and other sound effects, and eliminate clipping. For more information about using keyframes and editing curves, see Keyframes and Curves Recording Keyframes You can record keyframes for audio level and pan by clicking the Record button, then adjusting the dials or sliders in the Audio list, the HUD, or the Inspector. Alternatively, you can manually add a keyframe to the Level and Pan parameters in the Audio Track Inspector (any subsequent adjustments add a keyframe at the current playhead position). Recording keyframes for audio level and pan can be useful for trying out changes and hearing the results in real time. Adding and Editing Keyframes Level and Pan curves appear in both the Audio Timeline and Keyframe Editor. • Audio keyframes in the Audio Timeline appear as a flat sequence, allowing you to move their positions in time or delete them, or edit their values numerically. • Audio keyframes in the Keyframe Editor appear stacked, forming curves. To show the audio waveform behind the curve, choose the track name from the waveform pop-up menu on the upper-right side of the Keyframe Editor. The Level and Pan parameters are adjusted via different numeric ranges: • Level curves range from –96 to 6 with 0 equivalent to 0 dB (unity gain). • Pan curves range from –100 to 100. Because Level and Pan curves each use a different scale, it can be difficult to frame them at the same time in the Keyframe Editor. 1376 Chapter 23 Working with Audio To edit, add, or remove keyframes for animated Level and Pan settings, use the Audio Timeline or Keyframe Editor. For more information on working with the Keyframe Editor, see Keyframes and Curves. For more information on editing keyframes in the Audio Timeline, see Displaying and Modifying Keyframes in the Timeline. Crossfading Audio Tracks In the Keyframe Editor, you can view the audio tracks in your project, along with the Level and Pan curves for each track. To create a crossfade, add keyframes to the level curve of each track at the same (or nearly the same) points where you want the crossfade to start and end. Listen to the crossfade as you work. You may find that the best-sounding results are achieved by having the level curves for the two tracks be slightly asymmetrical. This is because the perceived loudness of different sounds with the same numerical value can be different. Syncing Audio and Video Tracks Motion lets you determine how to handle the playback of audio if the audio tracks are not in sync with the video. You can skip video frames to resync with the audio, or to pause audio playback to avoid skipping frames if the video is out of sync. To set audio sync preferences 1 Choose Motion > Preferences, then open the Time pane. 2 In the Playback Control section, select “Skip video frames” or “Pause audio playback.” • If you select “Pause audio playback,” audio playback pauses when video and audio are out of sync, then begins when audio catches up on the next loop. This enables an uninterrupted flow of video frames (at the expense of playback slowing down) to evaluate the look of your composition. • If you select “Skip video frames,” video frames are dropped to enable an uninterrupted flow of audio, for as close to real-time playback as possible. Retiming Audio Motion allows you to retime audio clips or channels to speed them up, slow them down, or play them at a different speed. Note: When retiming video, audio attached to the footage is retimed with it. You can unlink video and audio to retime them separately. For more information on retiming footage, see Retiming. Chapter 23 Working with Audio 1377 Timing Controls in the Inspector Each audio object has timing parameters in the Properties Inspector. Speed: Sets the speed of the audio clip as a percentage. The default is 100%. Values lower than 100 play the audio clip more slowly than its original speed, and also extend the Duration of the audio clip. Values higher than 100 play the audio clip faster than its original speed, and shorten the Duration of the audio clip. In: Sets the In point of the audio clip. Adjusting this parameter moves the audio clip In point to the specified frame without affecting its duration. Out: Sets the Out point of the audio clip. Adjusting this parameter moves the audio clip Out point to the specified frame without affecting its duration. Duration: Sets the total duration of the audio clip. Adjusting Duration also affects the Speed and the Out point. End Condition: Sets how playback continues when the end of the audio clip is reached. This pop-up menu has four options: • None: This is the default setting. The audio clip’s duration in your project is equal to the duration of its source media file. • Loop: When the last frame of the audio clip is reached, it loops back to the first frame and plays again. This can cause a jump in the audio clip’s apparent playback unless it is designed to loop seamlessly. The End Duration value must be greater than 0 for this parameter to have any effect. • Ping-Pong: When the last frame of the audio clip is reached, the next iteration of clip playback is reversed. The End Duration value must be greater than 0 for this parameter to have any effect. Note: The Ping-Pong option is mainly for reference—the reversed section of the audio track sounds noisy, because Motion does not support true reverse playback. • Hold: With this selected, the audio stops at the loop point. End Duration: Sets the number of frames by which the clip is extended at the end of its duration. This value may be adjusted only if End Condition is set to a value other than None. Adjusting a Track’s Speed in the Audio Timeline Motion allows you to change the timing of audio tracks in the Audio Timeline. Important: To affect all channels of a multichannel audio file, select all tracks in the Audio list (press Command-A) before making adjustments in the Audio Timeline. To shorten the audio clip’s duration and speed up its playback 1 In the Audio Timeline, position the pointer over the end of the green bar. 2 Holding down the Option key so the retiming pointer appears, drag the end of the green bar to the left. 1378 Chapter 23 Working with Audio As you drag, a tooltip displays the clip’s duration and speed. To lengthen the audio clip’s duration and slow its playback 1 In the Audio Timeline, position the pointer over the end of the green bar. 2 Holding down the Option key so the retiming pointer appears, drag the end of the green bar to the right. As you drag, a tooltip displays the clip’s duration and speed. Looping an Audio Clip Another way of extending a clip’s duration is by looping it. You can easily loop a clip by adjusting it in the Audio Timeline. When a looped audio clip reaches its last frame, the audio starts playing from its first frame. To loop an audio clip 1 Position the pointer close to the end of the clip in the Audio Timeline. 2 Holding down the Option and Shift keys so the loop pointer appears, drag the end of the green bar to the left. As you drag, a tooltip displays the clip’s In and Out points, duration, and loop duration. First loop barrier The Audio Timeline displays looped clips with barriers to indicate where loops begin and end. The first loop barrier in a clip’s bar is interactive. Moving the barrier changes the point where the clip loops. To change the loop point of an audio clip µ Drag the first loop barrier left or right. The end point of the clip’s loop moves as you drag. Chapter 23 Working with Audio 1379 Using Markers with Audio When you add project markers to the Timeline, they appear in the Timeline and Keyframe Editor. You can use project markers to designate “hit points” as you play the project, to jump to a specific point, or to highlight points to synchronize visual and audio events. For information on adding and deleting markers, moving markers, editing marker information, and using markers, see Adding Markers. Audio Behaviors Audio behaviors can be applied to audio tracks from movie clips with sound or to standalone audio tracks. There are two ways to apply an audio behavior: • Dragging an Audio behavior from the Library to an audio track in the Audio list or Audio Timeline • Selecting a track in the Audio list or Audio Timeline and then choosing an Audio behavior from the Add Behavior pop-up menu in the toolbar For more information about applying behaviors, see Applying and Removing Behaviors. There are two useful behaviors to control audio tracks in Motion: Audio Auto Pan and Audio Fade In/Fade Out. Audio Auto Pan Automates commonly used panning effects in an audio track. Parameters in the Inspector Pan Position: A slider that sets the position of the pan. If the Pan Position slider is set to 0, the sound is equally balanced between the left and right channels. With larger negative values of Pan Position, the sound increases in volume in the left channel and decreases in the right channel. With larger positive values of Pan Position, the sound increases in volume in the right channel and decreases in the left channel. Depth: A slider that sets how far the automatic pan occurs in the left and right channels. Values range from 0 to 100. Direction: A pop-up menu that sets the direction in which the pan moves over the behavior’s duration. Choose Left or Right. If the direction is set to Right, over the behavior’s duration the volume of the audio decreases in the left channel as it increases in the right channel, giving the impression of a sound moving from left to right. If the direction is set to Left, over the behavior’s duration the volume of the audio decreases in the right channel as it increases in the left channel, giving the impression of a sound moving from right to left. 1380 Chapter 23 Working with Audio Volume: A pop-up menu that sets how audio levels are affected during the pan. Choose from four options: • Constant: An animation curve that allows no change in volume. • Ramp Up: An animation curve that creates a constant increase in volume • Ramp Down: An animation curve that creates a constant decrease in volume • Crescendo: A logarithmic animation curve that creates a slowly accelerating increase in volume • Decrescendo: A logarithmic animation curve that creates a slowly decelerating decrease in volume Gain: A slider that sets the target gain used for volume. Values range from –96 dB to +6 dB. Loops: A slider that sets the number of times the auto pan effect repeats. Values range from 1 to 30. Apply Volume: A pop-up menu that sets how audio levels change when the Auto Pan effect repeats. Choose Once Per Loop or Over Entire Duration. If you choose Once Per Loop, the Auto Pan affects audio level changes each time a loop marker is met. If you choose Over Entire Duration, the Auto Pan affects audio level changes. End Condition: A pop-up menu that sets how the pan loops when the Auto Pan effect repeats. Choose Repeat or Ping Pong. This setting has an effect only if Loops is set to a value greater than 1. Start Offset: A slider that sets the number of frames from the beginning of the audio after which the audio effect starts. End Offset: A slider that sets the number of frames from the end of the audio before which the audio effect stops. HUD Controls The HUD contains the same controls as the Inspector, except for the Start Offset and End Offset controls. Audio Fade In/Fade Out Automates fading in and out an audio track. Parameters in the Inspector Fade In Time: A slider that sets the number of frames over which the audio fades in from –96 dB to 0 dB from the first frame of the audio track. A duration of 0 frames leaves the beginning of the audio track unmodified. Fade Out Time: A slider that sets the number of frames over which the audio fades out from 0 dB to –96 dB. A duration of 0 frames leaves the end of the audio track unmodified. Chapter 23 Working with Audio 1381 Start Offset: A slider that sets the number of frames from the beginning of the audio track after which the volume animation starts. Adjust this parameter to make the behavior start after the beginning of the audio track. End Offset: A slider that sets the number of frames from the end of the audio before which the animation stops. Adjust this parameter to make the behavior end before the end of the audio track. HUD Controls The Audio Fade In/Fade Out behavior has a custom control, shown below. Note: The Audio Fade In/Fade Out HUD control is identical to the Fade In/Fade Out Basic Motion behavior. Audio Parameter Behavior Motion provides an easy and automated way for you to generate audio-driven animations in your projects, using the Audio parameter behavior. Where other behaviors are applied to an object as a whole (usually modifying multiple parameters at once), a Parameter behavior is applied to a parameter of an object. The Audio parameter behavior—available in the Parameter category in the Behaviors Library (and via the Add Behavior pop-up menu in the toolbar)—lets you make a particle system pulse to the beat of music, or have an audio track’s bass amplitude affect an object’s opacity. To apply the Audio parameter behavior via the Add Behavior pop-up menu 1 In the Audio list or Media list of the Project pane, select the track. 2 In the toolbar, choose Parameter > Audio from the Add Behavior pop-up menu. The Audio parameter behavior is added to the project. However, no Source Audio is yet applied. 1382 Chapter 23 Working with Audio 3 Do one of the following: • In the Behaviors Inspector, click the To pop-up menu (in the Source Audio row) and choose a source audio track. • Drag the audio clip (or video clip with audio) from the Media list (in the Project pane) to the Source Audio well in the Behaviors Inspector. To apply the Audio parameter behavior via the shortcut menu 1 In the Audio list, select the track. 2 In the Audio Track Inspector, control-click an audio parameter (such as Level), then choose Audio from the Add Parameter Behavior submenu of the shortcut menu. The Audio parameter behavior is added to the project. However, no Source Audio is yet applied. 3 Do one of the following: • In the Behaviors Inspector, click the To pop-up menu (in the Source Audio row) and choose a source audio track. • Drag the audio clip (or video clip with audio) from the Media list (in the Project pane) to the Source Audio well in the Behaviors Inspector. For more information on applying Parameter behaviors, see Applying Parameter Behaviors. Audio The Audio parameter behavior performs an analysis of a specific property of an audio track, then applies an animation curve to a parameter based on that analysis. Parameters in the Inspector Source Audio: Sets the audio track from which to read audio data. Can be set to any single audio track in the project, or the Master track. Drag an audio clip or a video clip with 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 choice of display affects the frequency range of the Low Frequency and High Frequency parameters below. Chapter 23 Working with Audio 1383 Audio Graph: A graph displaying a visual representation of the Source Audio data analyzed by the behavior per frame. During playback initiated by the Play button beneath the Audio Graph, the selected Source Audio data appears. If audio analysis is being performed, a progress bar appears in the Audio Graph area. The values of Low Frequency, High Frequency, Floor, and Ceiling can be set by dragging the small triangles along the bottom or right side of the graph. Or they can be set numerically using the four sliders underneath the graph to isolate specific frequencies and values for analysis. Low Frequency: 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: 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: Sets the minimum value of audio input, below which results are ignored. Values range from 0 to 1. Ceiling: Sets the maximum value of audio input, above which results are ignored. Values range from 0 to 1. Smoothness: 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. This parameter is only available if Respond To is set to Amplitude. Note: Depending on your audio file, Smoothness values greater than 7 may result in audio playing out of sync. Sensitivity: Sets the sensitivity of the transient detection. Values range from 0% to 100%. This parameter is only available if Respond To is set to Transients. Channel: Sets the audio channel to analyze. Value can be set to Mix/Mono, Left, or Right. Note: With a multichannel audio file used as a source, Mix/Mono must be selected for audio analysis to be performed properly. Peaks: Sets the way the key points are linked when drawing the peak curves generated by the audio analysis. Value can be set to Sharp, Smooth, Square, or Continuous. The different peak types are described in the list below. 1384 Chapter 23 Working with Audio Note: The examples below are for reference only. Because the audio behavior does not generate keyframes, you won’t see keyframes in the Keyframe Editor. • Sharp: Each peak of the animation curve is described by three keyframes with a straight line drawn between them. A selected keyframe has no tangent handles. • Smooth: Each peak of the animation curve is drawn by a single keyframe with a Bezier curve. A selected keyframe has a tangent handle to change the shape of the curve. • Square: Each peak of the animation curve is drawn by four keyframes. A selected keyframe has no tangent handles. • Continuous: The animation curve behaves like Smooth interpolation, but without access to Bezier handles, because they are calculated automatically from peak to peak. Chapter 23 Working with Audio 1385 Attack: The animation curve shows the amount of the offset in frames between the first keyframe of the curve and the peak of the curve generated by the Audio behavior. The number of frames that the curve takes to reach its peak from its initial value is called the Attack. This parameter is only available if Respond To is set to Transients. Attack side of the curve Release: The animation curve shows the amount of the offset in frames between the peak of the curve generated by the Audio behavior and the last keyframe of the curve. The number of frames that the curve takes to reach its final value from its peak is called the Release. This parameter is only available if Respond To is set to Transient. Apply Mode: Sets the method by which the audio analysis affects the curve. Value can be set to Add, Subtract, Multiply, or Add and Subtract. Delay: Sets a delay in frames to offset the resulting keyframes. Scale: Sets the scale factor to affect the result of the audio analysis. Apply To: Sets the object parameter to which the audio behavior is applied. HUD Controls The HUD contains the Source Audio, Respond To, Graph Range, Audio Graph, Scale, and Apply To controls. 1386 Chapter 23 Working with Audio When you are ready to distribute your project, there are many possible output options, found in the Share menu. These options generate a file (or files) that contain a rendered version of your project. This chapter covers the following: • Share Menu (p. 1387) • Render Options for Sharing (p. 1388) • Sharing to Apple Devices (p. 1389) • Sharing to Disc or Creating a Disk Image (p. 1391) • Sharing to Email (p. 1394) • Sharing to Video Sharing Sites (p. 1395) • Exporting QuickTime, Audio, and Image Sequence Media (p. 1398) • Exporting Frames (p. 1402) • Exporting for HTTP Live Streaming (p. 1402) • Exporting Using Compressor (p. 1403) • Background Rendering (p. 1405) • About Share Monitor (p. 1405) Share Menu The Share menu provides various options designed to make it easy to distribute your project. Most options have a specific target, such as an Apple device connected to iTunes, a Blu-ray disc, or a specific website. There are also options for exporting broadcast-quality or highly compressed QuickTime movies, image sequences, audio, and still images. You can customize the settings of each method of export to suit your specific needs. 1387 Sharing Motion Projects 24 To further customize your output file or to spread the processing work across multiple computers, you can use the settings for Compressor, the professional transcoding application. Share menu item Use to Play your project in iTunes; on iPhone, iPad, and iPod; and on your home theater system using Apple TV. Apple Devices Burn your project to a standard-definition DVD or to a high-definition Blu-ray-compatible disc, or create a disk image (.img) file you can copy to an external drive or burn to disc later. DVD, Blu-ray Email Email your project using Mail. YouTube, Facebook, Vimeo, CNN Publish your project to any of these popular video-sharing websites. iReport Export all or part of your project as a QuickTime movie, audio file, or image sequence to use in other projects and applications, or to distribute manually. Export Movie, Export Selection to Movie, Export Audio, Export Image Sequence Export a single video frame as an image file in various standard image formats. Save Current Frame Export a QuickTime reference movie for web hosting that’s linked to a group of QuickTime movies compressed using different settings. You can choose how many and which available compression settings to export. When hosted using the relevant server software, the reference movie chooses the QuickTime movie with the optimal compression for streaming using the available bandwidth. Export for HTTP Live Streaming Open your project in Compressor to use its customized export settings, or export your project using configured Compressor settings without opening Compressor. Send to Compressor, Export Using Compressor Settings Open the Share Monitor application. Click the Share Monitor icon in the Dock to monitor the progress of output file rendering. If you use background processing for any option in the Share menu, the Share Monitor opens automatically. Show Share Monitor Render Options for Sharing When sharing a Motion project, you can choose from different rendering options to balance image quality versus rendering time. These options, when available, are found in the Render pane of the Share window. (If you chose Share > Apple Devices and the Render pane is not visible, click Show Details.) Render Options Color: Use this pop-up menu to choose whether to output Color channels (RGB only, with no transparency), Alpha channel only, or Color + Alpha (RGB with transparency). 1388 Chapter 24 Sharing Motion Projects Note: Only some codecs support embedded alpha channels. If you’re outputting to a codec that doesn’t support alpha channels, no alpha channel is saved, regardless of the option you choose in this pop-up menu. Premultiply Alpha: When the project's background color is black, select this checkbox to mix (via multiplication) semitransparent pixels with the project’s background in the exported file. Render Quality: Use this pop-up menu to choose a Render Quality: Best, Normal, Draft, or Custom. The Render Quality setting affects the image quality of specific effects but not the image as a whole. Choosing a lower render quality reduces render times, while choosing a higher render quality improves the quality of output. For more information, see Canvas View Options. Fields: Use this pop-up menu to choose whether to render individual fields. Options include On (interlaced), Off (progressive), and “Use canvas setting.” Motion Blur: Use this pop-up menu to choose whether to apply motion blur to moving objects. The options are On, Off, or “Use canvas setting.” Frame Blending: Use this pop-up menu to choose whether to render frame blending to output smoother, higher-quality slow motion in your project. The options are On, Off, or “Use canvas setting.” 3D Rendering Options Camera: If your project uses 3D layers, use this pop-up menu to choose the cameras to use to render your project. Lighting: Use this pop-up menu to choose whether to render lighting effects. The options are On, Off, or “Use canvas setting.” Turning this option off reduces rendering time; however, lighting effects do not appear in the output. Shadows: Use this pop-up menu to choose whether to render shadow effects. The options are On, Off, or “Use canvas setting.” Turning this option off reduces rendering time; however, shadow effects do not appear in the output. Reflections: Use this pop-up menu to choose whether to render reflection effects. The options are On, Off, "Use canvas setting.” Turning this option off reduces rendering times; however, reflection effects do not appear in the output. Depth of Field: Use this pop-up menu to choose whether to render depth of field effects. The options are On, Off, or “Use canvas setting.” Turning this option off reduces rendering times; however, depth of field effects will not appear in the output. Sharing to Apple Devices To sync your project to a device such as iPhone, iPad, or iPod, or to play your project on a home theater system using Apple TV, you must send the project to iTunes. There are two ways you can choose an iTunes-compatible format to share your project. Chapter 24 Sharing Motion Projects 1389 To choose an Apple device format for sharing 1 Choose Share > Apple Devices. 2 In the Share window, click an Apple device shown at the top. 3 Select “Add to iTunes” if you want the shared file added to your iTunes library. 4 When the device you clicked appears at the center of the window, click Share. The time it takes to output a project depends on the size of the movie and whether you render more than one movie size at once. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. To customize an Apple device format for sharing 1 Choose Share > Apple Devices. 2 In the Share window, click an Apple device shown at the top. The Share window displays the basic details about the file (size and resolution) and lists compatible Apple devices. Although selecting iPod results in a file that is compatible with all Apple devices, the file’s resolution may produce low quality when played on an iPad or Apple TV. 3 Select “Add to iTunes” if you want the shared file added to your iTunes library. 4 To specify additional options, click Show Details, then open the Options pane. 5 In the Options pane, choose settings to fine-tune the rendered output: • Sizes: To render the project to more than one size, select multiple devices in the Sizes area. Choosing multiple devices results in multiple files with the same name. • Encode for: Select “Higher quality” or “More compatibility.” Note the difference in file size and number of compatible devices listed. Choose the encoding option that creates an output file compatible with the devices you use to play the project. Greater compatibility generally results in lower quality when played on high-resolution devices. • Title: To change your project’s name in iTunes, enter a name in the Title field. • Add to playlist: To add your project to an iTunes playlist, choose a playlist from this pop-up menu. • Compression: Choose a render quality from the pop-up menu. If you choose “Faster encode (single pass)” you to sacrifice quality for faster processing. • Duration: If you set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the entire sequence or the portion between the In and Out points. 6 To specify additional Motion-specific options, open the Render pane. For more information about options available in the Render pane, see Render Options for Sharing. 7 To use background rendering, open the Advanced pane. 1390 Chapter 24 Sharing Motion Projects For more information about background rendering, see Background Rendering. 8 To see details about files to be output, open the Summary pane. 9 When you’re satisfied with the settings, click Share. The time it takes to output the project depends on the size of the movie, the number of movie sizes being rendered, and the Render settings you selected. You can monitor the render progress using Share Monitor. For more information, see About Share Monitor. If you selected the Add to iTunes option, iTunes opens (if it wasn’t open), and the new output media appears within. Sharing to Disc or Creating a Disk Image You can burn your project to a standard-definition DVD or a to Blu-ray-compatible disc. There are two ways to create a Blu-ray-compatible disc: • Use an external optical drive that supports Blu-ray Disc burning to blue laser media. • Use a standard DVD burner and standard red laser media to create an AVCHD disc with HD video content and menus. You can play AVCHD discs in Blu-ray players if they are compatible with AVCHD discs. You can also create a disk image (.img) file that you can copy to an external drive. You can take the disk image to a disc replication facility or burn it to DVD or Blu-ray Disc media at a later time using Disk Utility. Markers are added to the file on disc at 30-second intervals, making it it possible to use the DVD or Blu-ray player’s remote to skip forward or backward 30 seconds each time the Next Chapter or Previous Chapter buttons are pressed. Each disc format has a maximum allowable number of disc markers: • Standard DVD: 99 • Standard Blu-ray: 999 • AVCHD: 50 Note: If Compressor is installed on your computer, you can use the Send to Compressor option to open the project in Compressor, where you can add and name chapter markers using the Preview window. For more information, see Compressor Help. To burn a standard-definition DVD or create a standard-definition disk image file 1 Choose Share > DVD. 2 Choose a destination from the “Output device” pop-up menu. The menu displays your system’s suitable output devices, including available optical drives and the computer’s hard disk. To burn a disc, choose an optical drive. To create a disk image (.img) file that you can copy to an external drive or burn to DVD media later, choose Hard Drive. Chapter 24 Sharing Motion Projects 1391 3 From the Layers pop-up menu, choose whether to burn a single-layer or dual-layer disc. Important: Selecting “Dual-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. 4 Choose an available template from the “Disc template” pop-up menu. 5 Enter the name of the disc in the Title field. By default, the name of the disc is the project name. 6 To specify the DVD player’s action when the disc is inserted, choose an item from the “When disc loads” pop-up menu. Choose Show Menu to have a main menu appear. Choose Play Movie to begin playing the movie immediately. 7 To add a background to DVD menus, click the Add button and choose a graphic (navigating to where you keep your graphics files on disk). To choose a different background, click the Clear button, then click Add again. 8 Click Main Menu to see a preview of menus included with the selected template and background; click Project to see a preview of the movie. 9 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 10 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 11 To see details about files to be output, click Summary. 12 In the Options pane, do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the eject button at the right of the Output device pop-up menu, insert a blank disk into your disc-burning device, then click Burn. Important: If you click Burn before inserting a dual-layer destination disc, Motion assumes it is a single-layer disc, resulting in only half the disc being used, and poorer-quality video. • If you’re creating a disk image file: Choose Hard Drive from the Output device pop-up menu, click Next, enter a name for the file, choose a location, then click Save. Important: By default, the Share feature assumes single-layer media for disk images and adjusts the bit rate accordingly. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. To burn a Blu-ray or AVCHD disc, or to create a disk image Blu-ray file 1 Choose Share > Blu-ray. 1392 Chapter 24 Sharing Motion Projects 2 In the window that appears, choose a file destination from the “Output device” pop-up menu. The pop-up menu displays your system’s suitable output devices, including optical drives and the computer’s hard disk. Each device is identified by the type of output it supports (Blu-ray or AVCHD). To create a disk image (.img) file that you can copy to an external drive or burn to Blu-ray media later, choose Hard Drive. 3 From the Layers pop-up menu, choose whether to burn a single-layer or dual-layer disc. Important: Selecting “Dual-layer” when using a single-layer disc can result in an error while burning the disc, depending on the project’s length. 4 Choose a template from the “Disc template” pop-up menu. 5 Enter the name of the disc in the Title field. By default, the name of the disc is the project name. 6 To specify the Blu-ray player’s action when the disc is inserted, choose an item from the “When disc loads” pop-up menu. Choose Show Menu to have the main menu appear. Choose Play Movie to begin playing the movie immediately. 7 To add a Loop Movie button to the menu, select “Include loop movie button.” Note: This option is not available for all disc templates. 8 Click Main Menu to see a preview of menus included with the selected template; click Project to see a preview of the movie. 9 To add a background, logo, or title to menus, click the Add button and choose a graphic (navigating to where you keep your graphics files on disk). To choose a different background, click the Clear button, then click Add again. 10 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 11 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 12 To see details about files to be output, click Summary. 13 In the Options pane, do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the eject button at the right of the Output device pop-up menu, insert a blank disk into your disc-burning device, then click Burn. Chapter 24 Sharing Motion Projects 1393 Important: If you click Burn before inserting a dual-layer destination disc, Motion assumes it is a single-layer disc, resulting in only half the disc being used, and poorer-quality video. • If you’re creating a disk image file: Choose Hard Drive (Blu-ray) from the Output device pop-up menu, click Next, enter a name for the file, choose a location, then click Save. Important: By default, the Share feature assumes single-layer media for disk images and adjusts the bit rate accordingly. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Note: Blu-ray and AVCHD menus are best suited for displays set to show 1080 lines of vertical resolution. Sharing to Email You can create an email message in Mail and include your movie as an attachment. To share a project via Email 1 Choose Share > Email. 2 Choose the video size to export via the Size pop-up menu. 3 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” 4 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the entre sequence or the portion between the In and Out points. 5 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 6 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering 7 To see details about files to be output, including the attachment’s estimated file size, click Summary. Important: Many email services limit the file size for attachments. If the message exceeds the maximum size allowed by your email provider, the message size in Mail appears in red, along with the allowed limit (if Mail can get that information from the email provider). 8 To see the attachment’s estimated file size, choose your preferred Size and Compression options, then click Summary. 9 Click Compose Message. 1394 Chapter 24 Sharing Motion Projects After rendering is complete, Mail opens and an email is created with the subject filled in and the movie attached. Sharing to Video Sharing Sites You can share your Motion project by publishing it to popular movie-sharing web sites including YouTube, Facebook, Vimeo, and CNN iReport. This section shows you how to share to these sites. Before using the Share command, set up an account with any of these services you plan on using. Keep your account information handy, because you’ll need it to follow the procedures in this section. To publish your project to YouTube 1 Choose Share > YouTube. 2 If your account isn’t showing in the Account pop-up menu, do one of the following: • If this is your first time publishing to YouTube via Motion, click Add, then enter your account name. (If you don’t have a YouTube account, go to http://www.youtube.com to create one.) • If you have more than one YouTube account, choose the one to publish to from the Account pop-up menu. 3 Enter the requested information: • Password: Enter your YouTube account password. • Category: Choose a YouTube content category from this pop-up menu. • Make this movie private: Select whether to make the movie private. If you select this checkbox, only the contacts you specify in your YouTube account settings (via your online YouTube account page) can see the movie. • Title: Enter the movie name you want viewers to see. • Description: Enter information about your movie for viewers to read. • Tags: Enter keywords that viewers can use to find your movie. Note: All the above items are required. 4 Choose a movie size from the Size pop-up menu or, to have Motion choose the size based on your project’s media, select the “Set size automatically” checkbox. 5 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” 6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. Chapter 24 Sharing Motion Projects 1395 7 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary. 10 Click Next, read the terms of service, then click Publish. Your project is rendered and uploaded to YouTube. The time it takes depends on how long your project takes to render, and on website traffic. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. To publish your project to Facebook 1 Choose Share > Facebook. 2 If your account isn’t showing in the Account pop-up menu, do one of the following: • If this is your first time publishing to Facebook via Motion, click Add, then enter your account name. (If you don’t have a Facebook account, go to http://www.facebook.com to create one.) • If you have more than one Facebook account, choose the one from the Account pop-up menu. 3 Enter the requested information: • Password: Enter your Facebook account password. • Viewable by: To determine the subset of people who can view your video, choose an item from pop-up menu. • Title: Enter the movie name you want viewers to see. • Description: Enter information about your movie for viewers to read. 4 Choose a movie size from the Size pop-up menu or, to have Motion choose the size based on your project’s media, select “Set size automatically.” 5 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” 6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 7 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. 1396 Chapter 24 Sharing Motion Projects For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary. 10 Click Next, read the terms of service, then click Publish. Your project is rendered and uploaded to Facebook. The time it takes depends on how long your project takes to render and on website traffic. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. To publish your project to Vimeo 1 Choose Share > Vimeo. 2 If your account isn’t showing in the Account pop-up menu, do one of the following: • If this is your first time publishing to Vimeo via Motion, click Add, then enter your account name. (If you don’t have a Vimeo account, go to http://www.vimeo.com to create one.) • If you have more than one Vimeo account, choose one from the Account pop-up menu. 3 Enter the requested information: • Password: Enter your Vimeo account password. • Viewable by: Choose the subset of people who can view your video from this pop-up menu. • Title: Enter the movie name you want viewers to see. • Description: Enter information about your movie for viewers to read. • Tags: Enter keywords that viewers can use to search for and find your movie. 4 Choose a movie sie from the Size pop-up menu or, to have Motion choose the size based on your project’s media, select “Set size automatically.” 5 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” 6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 7 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary. 10 Click Next, read the terms of service, then click Publish. Chapter 24 Sharing Motion Projects 1397 Your project is rendered and uploaded to Vimeo. The time it takes depends on how long your project takes to render and on website traffic. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. To publish your project to CNN iReport 1 Choose Share > CNN iReport. 2 Choose your account from the Account pop-up menu, or click Add to add an account. If you don’t have an account, go to the CNN iReport website (http://www.ireport.com) and create one. 3 Enter the requested information: • Password: Enter your CNN iReport account password. • Subject: Enter the movie name you want viewers to see. • Body: Enter information about your movie for viewers to read. • Tags: Enter keywords that viewers can use to search for and find your movie. 4 Choose a movie size from the Size pop-up menu, or to have Motion choose the size based on your project’s media, select “Set size automatically.” 5 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” 6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 7 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary. 10 Click Next, read the terms of service, then click Publish. Your project is rendered and uploaded to CNN iReport. The time it takes depends on how long your project takes to render and on website traffic. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Exporting QuickTime, Audio, and Image Sequence Media You can export your project as a movie file using the Export Movie command in the Share menu. Use this option when you want to use the media in another application, copy it to an external drive for a client to review, or publish it to an unsupported website. 1398 Chapter 24 Sharing Motion Projects You can limit what’s exported from your project to objects you select using the Export Selection to Movie command. This is useful for exporting background or foreground plates , excluding parts of the composition as a stand-alone movie file. You can also export only your project’s audio using the Export Audio command. You might want to do this to create an audio file that contains a mix of all the project’s audio tracks. You can export your project’s visuals as an image sequence—a set of sequentially numbered still-image files that are compatible with a many professional finishing, compositing, and grading applications—using the Export Image Sequence command. To export your project as a movie file 1 Choose Share > Export Movie (or press Command-E). 2 Choose an export format from the Export pop-up menu. This menu provides a list of codecs. 3 Choose an option from the “Open with” pop-up menu: • Do Nothing: The movie is not opened after the export is completed. • Open with QuickTime Player: The movie is opened in QuickTime Player. • Open with Compressor: The movie is opened in Compressor (if installed on your system). 4 Choose an option from the Include pop-up menu: Video and Audio, or Video Only. 5 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 6 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 7 To see details about the file to be output, click Summary. 8 Click Next. 9 Enter a name and choose a location for the exported file, then click Save. Motion renders and saves your movie. Important: The Export Movie command does not use background rendering, so you must wait until rendering is finished before you can continue to work in Motion. To export selected objects from your project as a movie file 1 Select objects in the Layers list or the Timeline. If nothing is selected, the Export Selection to Movie command won’t work. 2 Choose Share > Export Selection to Movie (or press Command-Option-E). 3 Choose an export format from the Export pop-up menu. Chapter 24 Sharing Motion Projects 1399 This menu provides a list of codecs. 4 Choose an option from the “Open with” pop-up menu: • Do Nothing: The movie is not opened after the export is completed. • Open with QuickTime Player: The movie opens in QuickTime Player. • Open with Compressor: The movie opens in Compressor (if installed on your system). 5 Choose an option from the Include pop-up menu: Video and Audio, or Video Only. 6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 7 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 8 To see details about files to be output, click Summary. 9 Click Next. 10 Enter a name and choose a location for the exported file, then click Save. Motion renders and saves the objects you selected as a movie. Important: The Export Movie command does not use background rendering, so you must wait until rendering is finished before you can continue to work in Motion. To export your project’s audio by itself 1 Choose Share > Export Audio. 2 Choose an audio format from the Export pop-up menu. 3 Select “Open with Application” to have the exported movie open in its default application. If you export a file with audio only, the default application depends on the file type. AC3 and CAF files open in QuickTime Player; AAC (.m4A), AIFF, Wave, and MP3 files open in iTunes. 4 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 5 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 6 To see details about files to be output, click Summary. 7 Click Next. 8 Enter a name for the audio file, choose a location, then click Save. Your audio file is rendered and saved. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. 1400 Chapter 24 Sharing Motion Projects Note: The number of audio files exported depends on the setting of output channel pop-up menu in the Master track area at the bottom of the Audio list. If the menu is set to stereo, a single stereo file is output. If it’s set to 5.2, six separate audio files are output, corresponding to each surround track. For more information, see Selecting Output Channels. To export your project as an image sequence 1 Choose Share > Export Image Sequence. 2 Choose an image sequence file format from the Export pop-up menu. 3 To export frames from a project that uses nonsquare Pixel Aspect Ratio (such as NTSC or PAL) so the resulting files use square pixels, turn on “Scale image to preserve aspect ratio.” 4 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 5 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 6 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 7 To see details about files to be output, click Summary. 8 Click Next. 9 Enter a name for the image sequence and choose where to write it. Important: This command creates a folder using the name you entered. The image sequence files are saved here. 10 Click Save. Motion renders and saves an image sequence. You can monitor the render progress using Share Monitor. For more information, see About Share Monitor. Sharing to iMovie, GarageBand, and Other Apple Applications You can use a finished Motion project in another Apple application by exporting the project as a QuickTime movie. A movie exported to your Movies folder can be accessed through the Media Browser used in many Apple applications, including GarageBand, Pages, and Keynote. To share a Motion project to iMovie 1 Choose Share > Export Movie (or press Command-E). 2 Choose an export format from the Export pop-up menu. This menu provides a list of codecs. 3 Choose None from the “Open with” pop-up menu. Chapter 24 Sharing Motion Projects 1401 4 Choose an option from the Include pop-up menu. 5 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the entire sequence or the portion between the In and Out points. 6 Click Next. 7 Enter a name and location for the exported file, then click Save. Motion renders and saves your movie, which can now be imported into an iMovie project using the File menu. For more information, see iMovie Help. To share a Motion project to the Media Browser 1 Follow steps 1–6 above. 2 Enter a name and set the location for the exported file to /Users/username/Movies/, then click Save. Motion renders and saves your movie to your Movies folder. You can now import the movie into applications such as GarageBand, Keynote, and Pages using the Media Browser button. For more information, see the particular application’s Help. Note: You can import movies from any Finder folder into GarageBand, Keynote, or Pages, but movies not saved to your Movies folder will not appear in the Media Browser. Exporting Frames You can save a single image file of any video frame in your project. To share a still frame 1 In your Motion project, move the playhead to the frame to be saved, then choose Share > Save Current Frame. 2 Choose an image format from the Export pop-up menu. 3 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 4 To see details about files to be output, click Summary. 5 Click Next. 6 Enter a name and choose a location for the saved file, then click Save. Exporting for HTTP Live Streaming Exports a QuickTime reference movie for web hosting that’s linked to a group of QuickTime movies compressed using different settings. You can choose how many and which compression settings you want to export. 1402 Chapter 24 Sharing Motion Projects When hosted using the related server software, the reference movie can choose the QuickTime movie with the most optimal compression for streaming using available bandwidth. To export your project for HTTP Live Streaming 1 Choose Share > Export for HTTP Live Streaming. 2 Select which versions of the movie to export. 3 Choose the Segment Length from the pop-up menu. This value defines how video streams are split into chunks. This segmentation defines when the web server can switch between the video formats while streaming to a device with varying network connection speeds. • 10 seconds: Choose this to allow the server to respond more quickly to changing connection speeds, at the expense of slightly larger files. • 30 seconds: Choose this for smaller, more efficient files when you do not expect the server to need to respond to changing connection speeds. 4 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 5 To specify additional Motion-specific options, click Render. For more information about options available in the Render pane, see Render Options for Sharing. 6 To choose whether to use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 7 To see details about files to be output, click Summary. 8 Click Next, and then enter a name and choose a location for the exported file. 9 Click Save. Motion renders and saves your movie. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Exporting Using Compressor Share menu options are configured to provide results that work well for common situations. However, at times you might need to customize the settings. Compressor, a professional transcoding application that works with Motion, gives you maximum control over media-conversion specifications and encoding workflows. Important: You must purchase Compressor separately. Chapter 24 Sharing Motion Projects 1403 Here are some ways you can use Compressor: • If you have Compressor installed: You can send your project to Compressor via the Share > Send to Compressor command, to take advantage of the options available in Compressor to customize your output. • If you have Compressor installed, or have copied Compressor settings to your computer: You can apply Compressor settings (either the Apple-supplied setting or custom settings you create) in Motion via the Share > Export Using Compressor Settings command. Exporting a project in this manner lets you render your project using Compressor settings without opening your project in Compressor. Each Compressor setting you select results in an additional version of your project being rendered. After you choose settings, your project is rendered in the background. To send a project to Compressor 1 Choose Share > Send to Compressor. Compressor opens, adding the project to a new batch, which is a list of jobs. (A job is a media or project file with project settings applied to it for rendering.) 2 Drag settings from the Settings window to your job in the batch window, then click Submit. For more information about configuring jobs and settings, see Compressor Help. To export a project using Compressor settings 1 Choose Share > Export Using Compressor Settings. 2 Choose settings from the resulting Share window. The settings are grouped by type into folders. 3 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 4 Select Open with Application to have the exported file automatically open. 5 To choose whether to use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 6 To see details about files to be output, click Summary. 7 Click Next. 8 Enter a file name, choose a location for the output files, then click Save. The Share Monitor window opens, your program begins rendering in the background, and a progress bar displays how much time remains. For more information, see About Share Monitor. 1404 Chapter 24 Sharing Motion Projects Background Rendering The Advanced pane, found in nearly all Share dialogs, lets you send customized Share settings to Compressor for background rendering while you continue to work in Motion. To send your project to Compressor for background rendering 1 Choose and configure an option from the Share menu. For example, you can choose Share > Apple Devices to configure its settings. 2 If necessary, click Show Details to reveal the available panes, then click Advanced. 3 Click Send to Compressor. Your movie is sent to Compressor for rendering. To monitor render progress, use Share Monitor. For more information, see About Share Monitor. About Share Monitor Publishing or exporting a project using Share menu options (except for Export Movie, Export Selection to Movie, and Save Current Frame) opens the Share Monitor application in your Dock. Note: The Export Movie, Export Selection to Movie, and Save Current Frame commands render in the foreground; background rendering is not available for these commands. You can click the Share Monitor icon to monitor the progress of the rendering process that’s creating your output files. A number appears on the icon to show how many files are being rendered. If there is an issue during the rendering process, the Share Monitor icon bounces in the Dock. For more information on using Share Monitor, see Share Monitor Help. Chapter 24 Sharing Motion Projects 1405 Some operations, as well as the application of specific filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. This affects how the rasterized group interacts with other objects in the project. This appendix covers the following: • Groups and Rasterization (p. 1407) • Text and Rasterization (p. 1410) • Shapes and Rasterization (p. 1411) • Particles, Replicators, and Rasterization (p. 1411) • Filters and Rasterization (p. 1414) • Shadows and Rasterization (p. 1416) Groups and Rasterization Rasterization affects 2D and 3D groups in different ways. When a 2D group is rasterized, the blend modes on objects in the group no longer interact with objects outside the group. When a 3D group is rasterized, the group as a whole can no longer intersect with objects outside the group. The rasterized 3D group is treated as a single object and uses layer order (in the Layers list), rather than depth order when composited in the project. For more information on layer order versus depth order, see Layer Order and Depth Order. Note: When a group is rasterized, cameras and lights in the project still interact with objects in the rasterized group. Important: Lighting in a flattened 3D group does not pass beyond the boundaries of that group, whether rasterized or not. The following operations on a 2D group trigger the rasterization of that group: • Making Blending changes (to the Opacity, Blend Mode, or Preserve Opacity parameters) • Turning on the Drop Shadow parameter • Turning on the Four Corner parameter 1407 About Rasterization A Appendix • Turning on the Crop parameter • Applying any filter • Adding a mask • Adding a light (if the 2D group the light is added to is nested in a 3D group) The following operations on a 3D group trigger the rasterization of that group: • Making blending changes • Applying specific filters For more information, see Filters and Rasterization. • Adding a light to a 3D project with the Flatten parameter enabled (in the Group Inspector) When an operation triggers a rasterization on a group, the following occurs: • A rasterization indicator (a small red box containing an “R”) appears next to the parameter in the Properties Inspector. Rasterization indicator • A small outline surrounds the rasterized group in the Layers list and Timeline. This is called a rasterization frame. Rasterization frame Note: Unlike vector graphics, rasterized 2D groups may lose quality when scaled if the Fixed Resolution checkbox is selected in the Group Inspector. Important: 3D particle emitters, 3D replicators, and nonflattened text objects are treated as 3D groups for rasterization. 1408 Appendix A About Rasterization Examples of 2D Group and 3D Group Rasterization The following examples show the effect of rasterization on the blend modes of 2D groups. In both examples, the lone elephant image, which is in the topmost group in the Layers list, overlaps a portion of the family of elephants image, which resides in a separate 2D group in the Layers list. In both examples, the lone elephant image has its Blend Mode parameter set to Vivid Light. In the nonrasterized left example, the lone elephant’s blend mode interacts with the pixels of the group underneath it (the family of elephants). However, in the right example, however, the topmost group is rasterized. Consequently, its Vivid Light blend mode no longer interacts with the pixels of the second group. No groups rasterized Topmost group rasterized The next examples show the effect of rasterization on the intersection of 3D groups. In the left, nonrasterized example, two groups (Group A and Group B) containing rectangle shapes intersect in 3D space. In the right example, Group A is rasterized; consequently, Group A and Group B no longer intersect. No groups rasterized Group A rasterized Important: If a group’s Blend Mode is set to Pass Through and the group’s layers have different Blend Modes applied, the layers are not rasterized. Appendix A About Rasterization 1409 Text and Rasterization Because all text layers are contained in groups, rasterization affects how text interacts with other objects in your project. Note: Text can be rasterized independently of the group in which it lives. Doing this affects how the text interacts with objects in its own group. For example, applying a Circle Blur filter to text that exists in 3D space (such as text on a path) causes the text to no longer intersect with other objects in the same group. The same operations that cause a 3D group to rasterize cause 3D text to rasterize. In some situations, selecting the Flatten checkbox in the Layout pane of the Text Inspector can minimize this effect. The following example shows the nonrasterized 2D group (Group 1) containing text. The text interacts with the image beneath it in the layer stack because the text is set to the Soft Light blend mode. (Notice the texture in the words “big cats” created by the image beneath it.) 1410 Appendix A About Rasterization In the next example, the 2D group that contains the text is rasterized—triggered in this case by selecting the Crop checkbox in the group’s Properties Inspector. The text’s Soft Light blend mode no longer interacts with the object beneath it (the tiger image) in the layer stack. Group 1 now appears with a rasterization frame around the group icon. For more information on rasterization with 2D and 3D groups, see Groups and Rasterization. Shapes and Rasterization When a group becomes rasterized, all masks, shapes, and paint strokes in that group are affected and may no longer interact with other layers and groups as expected. Because paint strokes are rendered in a plane, they are always rasterized (independent of other objects in the same group). This affects how the dabs that comprise a paint stroke interact with objects in the same group. Note: Because a paint stroke is always rasterized, no rasterization indicator appears around the paint stroke icon. For more information on rasterization with 2D and 3D groups, see Groups and Rasterization. Particles, Replicators, and Rasterization When a group becomes rasterized, particles and replicator elements in that group are affected and may no longer interact with other layers and groups as expected. Particles and replicators still interact in 3D with elements in the rasterized group. Appendix A About Rasterization 1411 The following examples demonstrate how rasterization affects particles in 2D groups. In the first image, a nonrasterized 2D group that contains a particle emitter is set to the Add blend mode. The particles interact with the group beneath the emitter in the Layers list (the group containing the reddish texture). The particles blend with the pixels of the underlying group. In the next image, the group that contains the particle emitter is rasterized. The particle emitter’s Add blend mode no longer interacts with the group beneath it in the Layers list (made apparent by the dark ring around the edges of the particles). 1412 Appendix A About Rasterization A 3D particle emitter can be rasterized independently of the group in which it lives. Consequently, the resulting particles may not interact as expected with objects inside the same group. For example, applying a Circle Blur filter to a particle emitter causes the particles to no longer intersect with other objects in the same group. The same operations that cause a 3D group to rasterize cause a 3D particle emitter to rasterize. To minimize this effect, apply the filter to the emitter’s source object, or deselect the 3D checkbox in the Emitter Inspector. When a group or a 3D particle emitter is rasterized, the group can no longer intersect with objects outside the group. In the following illustration on the left, the nonrasterized group that contains the particle emitter intersects with images from another group (when Render Particles is set to In Global 3D). In the illustration on the right, a Bloom filter applied to the star particles group has triggered a rasterization, so the emitter no longer intersects with images from another group. Note: Unlike vector graphics, rasterized 2D groups may lose quality when scaled if the Fixed Resolution checkbox is selected in the Group Inspector. In the following illustration on the left, the nonrasterized group that contains the replicator intersects with an image from another group. In the illustration on the right, a Gradient Blur filter applied to the replicator group has caused the replicator group to rasterize. As a result, the replicator no longer intersects with the image from another group. Appendix A About Rasterization 1413 For more information on rasterization with 2D and 3D groups, see Groups and Rasterization. Filters and Rasterization The application of some filters can cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. In 2D groups, the application of any filter causes rasterization. In 3D groups, the application of specific filters causes rasterization. For more information on rasterization and 3D groups, see Groups and Rasterization. The following filters force rasterization of 3D groups: Blur • Circle Blur • Compound Blur • Defocus • Gradient Blur • Radial Blur • Variable Blur • Zoom Blur Border All Border filters force rasterization of 3D groups. Color Correction No color correction filters cause rasterization of 3D groups. Distortion All Distortion filters force rasterization of 3D groups. Glow • Gloom • Light Rays • Outer Glow • Overdrive Keying and Matting • Keyer • Luma Keyer • Matte Magic 1414 Appendix A About Rasterization Sharpen All Sharpen filters force rasterization of 3D groups. Stylize • Add Noise • Bad Film • Bad TV • Circle Screen • Circles • Color Emboss • Crystallize • Edges • Extrude • Halftone • Hatched Screen • Highpass • Indent • Line Art • Line Screen • MinMax • Noise Dissolve • Pixellate • Relief • Slit Scan • Slit Tunnel • Texture Screen • Vignette • Wavy Screen Tiling All Tiling filters force rasterization of 3D groups. Time All Time filters force rasterization of 3D groups. Video • Deinterlace Appendix A About Rasterization 1415 Shadows and Rasterization Rasterized 3D objects do not cast shadows. If you perform an action that causes a group to be rasterized (such as modifying the group opacity or enabling the glow setting for a text object) and you still want that group to cast a shadow, you must flatten the group. Flattened groups act as 2D layers and can cast and receive shadows as long as they are embedded in a 3D group. Text objects are flattened in the Layout pane of the Text Inspector, and 3D groups are flattened in the Group Inspector. Particle systems and replicators are flattened by deselecting the 3D checkbox in the Emitter Inspector or Replicator Inspector. Rasterizing causes layers to be rendered in the stacking order shown in the Layers list. So even if the shadow-casting object is in front of the shadow-receiving object in the Canvas, rasterizing it may cause it to change position to reflect the relative order of the layers in the Layers list. You may need to rearrange the layer order in the Layers list to enable the rasterized, flattened object to cast a shadow. For more information on working with Shadows, see Shadows. 1416 Appendix A About Rasterization In Motion, you can create projects that integrate many media types using various formats. Whether you’re using a Motion project preset or creating a custom setting, it’s important to know what distinguishes one video format from another. This appendix details the characteristics of video formats and explains the frame sizes, how interlacing works, the difference between square and nonsquare pixels, and which frame rates correspond to which video formats. This appendix covers the following: • Supported File Formats (p. 1417) • Popular Video Codecs for File Exchange (p. 1419) • Field Order (p. 1421) • Using Square or Nonsquare Pixels When Creating Graphics (p. 1422) • Differences in Color Between Computer and Video Graphics (p. 1424) • Using Fonts and Creating Line Art for Video (p. 1425) • Scaling Imported High-Resolution Graphics (p. 1425) • Creating Graphics for HD Projects (p. 1426) • Creating Graphics for 2K and 4K Projects (p. 1426) Supported File Formats Motion supports the use of various video, still image, and audio file formats in a single project. QuickTime Video Codecs Motion supports QuickTime video files using nearly any codec installed on your computer, including: • Animation • DV - PAL • DV/DVCPRO - NTSC 1417 Video and File Formats B Appendix • DVCPRO - PAL • DVCPRO HD 1080i50, 1080i60, 1080p25, 1080p30, and 720p50, 720p60 • DVCPRO50 - NTSC • DVCPRO50 - PAL • Uncompressed 8- and 10-bit 4:2:2 • HDV 1080i50, 1080i60, 1080p24, 1080p25, and 720p24, 720p25, 720p30 • Motion JPEG • MPEG IMX 525/60 (30Mb/s, 40 Mb/s, 50 Mb/s) • MPEG IMX 625/50 (30Mb/s, 40 Mb/s, 50 Mb/s) • Photo - JPEG • Apple ProRes 4444 • Apple ProRes 422 (HQ) • Apple ProRes 422 • Apple ProRes 422 (LT) • Apple ProRes 422 (Proxy) • XDCAM HD 1080i50, 1080i60, 1080p24, 1080p25, 1080p30 (35 Mb/s VBR) • H.263 • H.264 Still Image Formats Motion supports most commonly used still image file types, including: • Photoshop • BMP • GIF • JPEG • PICT • PNG • TIFF • TGA • OpenEXR Other Image Formats In addition, Motion includes special support for the following image types: • Layered Photoshop files 1418 Appendix B Video and File Formats • PDF files Audio Formats You can import audio files with sample rates up to 192 kHz and with bit depths up to 32 bits. Mono and stereo files are supported. Multichannel audio files are also supported. Motion supports the following audio file types: • AAC (listed in the Finder with the .m4p file extension) • AIFF • CAF • WAV Important: You cannot import rights-managed AAC files, such as those purchased from the iTunes Store. For more information about the file formats supported by Motion, go to the Motion website at http://www.apple.com/finalcutpro/motion. Popular Video Codecs for File Exchange You can use video compressed with nearly any video codec in Motion. When you work on a project in Motion, it is best to use high-quality codecs with a minimum of compression. Highly compressed video files, such as those compressed using the MPEG-4 or Sorenson codec, are likely to be unsuitable for creating high-quality work. For purposes of media exchange between applications, not all codecs support alpha channels. Alpha channels define transparency in a clip, and are useful if you’re delivering an effects shot for use in someone else’s composition. If you are required to export a composition using a codec with no alpha channel support, you must export the alpha channel as a separate grayscale media file. Note: Motion processes color in the RGB color space. Any clips that were captured or recompressed using a Y′CBCR -aware codec, such as DV, the Apple ProRes family, or Uncompressed 8-bit 4:2:2, are converted to the RGB color space when used in a Motion project. Clips exported from Motion using a Y′CBCR codec are converted back into the Y′CBCR color space. Appendix B Video and File Formats 1419 Apple ProRes The Apple ProRes family of codecs provides a variety of versatile, adjustable compression formats to serve nearly any post-production workflow. There are five different Apple ProRes codecs: from Apple ProRes 4444, which includes an alpha channel, to Apple ProRes 422 (Proxy), an offline format used by Final Cut Server for proxy movies. • Apple ProRes 4444: The highest-bandwidth version of Apple ProRes, suitable for high-definition or digital cinema mastering, lightly compressed, with a variable bit rate (VBR) depending on frame size and frame rate. (An example is 330 mbps at 1920 x 1080 60i or 1280 x 720 60p.) Encodes video at up to 10 bits per channel with 4:4:4 chroma subsampling. Supports a lossless compressed alpha channel. • Apple ProRes 422 (HQ): A higher-bandwidth version of Apple ProRes 422, suitable for capturing and mastering high-definition video. Supports a variable bit rate (VBR) of 145 to 220 mbps. Supports any frame size. • Apple ProRes 422: A medium-bandwidth, high-quality compressed codec, suitable for mastering standard-definition video. Encodes video at 10 bits per channel with 4:2:2 chroma subsampling. Supports a variable bit rate (VBR) of 35 to 50 mbps. Supports any frame size. • Apple ProRes (LT): A more highly compressed codec than Apple ProRes 422, averaging 100 Mbps at 1920 x 1080 60i and 1280 x 720 60p. Designed to allow low-bandwidth editing at full-raster frame sizes, eliminating awkward frame-size conversions when conforming offline-to-online media for finishing and mastering. • Apple ProRes (Proxy): An even more highly compressed codec than Apple ProRes 422 (LT), averaging 36 Mbps at 1920 x 1080 24p, or 18 Mbps at 1280 x 720 24p. Designed to allow extremely low-bandwidth editing at full-raster frame sizes, eliminating awkward frame-size conversions when conforming offline-to-online media for finishing and mastering. Apple ProRes 4444 is the default export codec for Motion. It’s ideal for the exchange of motion graphics media because it is virtually lossless, and includes alpha channel support to preserve transparency for later compositing. Apple ProRes 4444 is the only Apple ProRes codec that supports alpha channels. Uncompressed 8-Bit and 10-Bit 4:2:2 Video These resolution-independent codecs are appropriate for all standard- and high-definition Y′CBCR video formats. Video stored using these codecs undergoes no data compression, but some color resampling may occur depending on the source video format. Because compression usually results in video artifacts, using no compression guarantees the highest level of quality, so this codec is often used for video mastering when the absolute highest quality is required. This also results in large file sizes. Note: Uncompressed 8-bit and 10-bit 4:2:2 movies do not support alpha channels. 1420 Appendix B Video and File Formats DVCPRO HD A high-definition video format used to capture video digitally from FireWire-enabled DVCPRO HD compatible decks. (Not to be confused with DVCPRO 25 or DVCPRO 50, which are both standard-definition formats.) This format supports a number of frame sizes and frame rates, including a 24p format that offers variable speed via a variable frame rate technology. DVCPRO HD uses 4:2:2 color sampling for high color fidelity, and has a fixed data rate of 12.5 MB/sec. Note: DVCPRO HD movies do not support alpha channels. DVCPRO 50 A standard-definition codec used to capture video digitally from FireWire-enabled DVCPRO 50-compatible camcorders and decks. Although it’s similar to the DV codec because DVCPRO 50 is imported as YUV encoded video, it produces considerably higher quality video because it uses less compression. (DVCPRO 50 uses a 3:3:1 compression ratio, versus DV’s 5:1 compression ratio.) DVCPRO 50 also uses 4:2:2 color sampling for high color fidelity, as opposed to DV’s 4:1:1 color sample rate. DVCPRO 50 has a fixed data rate of 7 MB/sec. Note: DVCPRO 50 movies do not support alpha channels. Third-Party Codecs Numerous video-editing solutions use different codecs, some of which may be available for installation to encourage interoperability. For more information, contact the manufacturer of the editing system. Note: Most third-party codecs cannot have alpha channels. Field Order When a video display is fed an interlaced video signal, each frame of video is split into two fields, each of which contains a set of alternating lines of horizontal resolution running across the screen. Standard-definition NTSC and PAL are both interlaced video formats, while some high-definition video formats, and all video displayed on a computer screen, are progressive-scanned video formats. With progressive scanning, these lines are drawn one at a time, from the top of the screen to the bottom. When you record interlaced footage with a camcorder, each video frame is split into two fields, each containing half of the total lines of resolution in the frame. The first field is recorded, then the second, one after the other, so both fields constitute one frame. When you play the video back, the monitor displays each recorded frame in succession, first drawing one field, then the other. Appendix B Video and File Formats 1421 Field order refers to the order in which each pair of video fields is recorded. Because video fields are recorded sequentially, it’s as if each 29.97 fps clip is really playing at 60 “frames” per second. There are two options for field order: • Upper (Field 2 is dominant, so the second field is drawn first.) • Lower (Field 1 is dominant, so the first field is drawn first.) Generally, Upper is used by 640 x 480 systems, while Lower is most common in professional 720 x 486 and DV 720 x 480 systems. It’s important to render digital video with the field order required by your playback system. Because motion continues from one field to the next, it’s crucial that each field plays in the correct order. Using Square or Nonsquare Pixels When Creating Graphics When you’re preparing to import graphics into Motion, be aware of the pixel aspect ratio you’re using and whether your project requires you to work with square or nonsquare pixels. • Use nonsquare pixels for standard-definition projects in NTSC or PAL. • Use square pixels for full-raster high-definition projects as well as multimedia video that will be played back only on computers and doesn’t use captured video footage. • Use square pixels for graphics used in projects with decimated raster frame sizes, such as DVCPRO HD formats recorded with a squeezed 1280 x 1080 frame size, but which are later stretched during playback to 1920 x 1080. Raster decimation is a strategy for lowering the data rate of recorded HD video; however, the final result is almost always mastered at the nearest corresponding full-raster resolution. By creating composited graphics and animation at the full-raster resolution used for output, you’ll simplify your asset creation, and guarantee the highest quality. Graphics created on a computer, whether scanned, painted, or rendered, will look distorted on a standard-definition video display unless you account for the different pixel aspect ratio. Fortunately, this is easy to do, because every nonsquare video frame size has an equivalent square frame size that you can use to create your graphics. To create graphics that look correct when output to video 1 In your graphics application, create a frame size that’s the square pixel equivalent of the video frame size you’re using. See the chart below for equivalent sizes. For example, if you’re working in DV-PAL with a nonsquare video frame size of 720 x 576, your graphic should have a square pixel frame size of 768 x 576. 1422 Appendix B Video and File Formats 2 Create the graphic. 3 Do one of the following: • In your graphics program, rescale the graphic from the square frame size used to create it to the nonsquare equivalent used in Motion. • Save your image as is. In your Motion project, select the object in the Media list of the Project pane, open the Media Inspector, then choose the correct aspect ratio from the Pixel Aspect Ratio pop-up menu. Square pixel size Aspect ratio (graphics program) Nonsquare 4:3 pixel Video format size (Motion) 601-NTSC 4:3 720 x 486 0.9 720 x 547 601-NTSC 16:9 720 x 486 1.2 853 x 486 Anamorphic DV-NTSC 4:3 720 x 480 0.9 720 x 540 DV-NTSC 16:9 720 x 480 1.2 853 x 480 Anamorphic 601/DV-PAL 4:3 720 x 576 1.07 768 x 576 601/DV-PAL 16:9 720 x 576 1.42 1024 x 576 Anamorphic 720i/p high definition NA 1.0 1280 x 720 1080i/p high definition NA 1.0 1920 x 1080 Working with Standard-Definition (SD) Video Displays Standard-definition (SD) video displays differ from computer displays in a significant way (aside from interlacing): computer displays represent images using a grid of square pixels, while SD video displays use rectangular pixels. 720 x 486 Broadcast (720 x 480 DV) 640 x 480 Appendix B Video and File Formats 1423 SD NTSC pixels are narrower than computer pixels and SD PAL pixels are wider than computer pixels. As a result, a 720 x 486 pixel image looks different on a computer display than it does on a video monitor. For example, if you capture a clip of video with a globe in the picture, export a frame, and look at this frame in a graphics application, you’ll see something like this: Looks right on a video monitor NTSC square vs. nonsquare pixels example Looks wrong on a computer monitor To display nonsquare pixel video correctly in Motion, choose Correct For Aspect Ratio in the View pop-up menu above the Canvas. Note: Because full-raster high-definition video uses only square pixels, its images always appear correctly when displayed on SD video displays. Differences in Color Between Computer and Video Graphics The range of colors that can be displayed on a broadcast video monitor employing the Rec. 709 video standard for gamut and gamma is different than the range of color that can be displayed on your computer. For this reason, colors that appear bright and clean on a video display may seem duller when viewed on your computer. Further, if you output media that exceeds the “broadcast-legal” range for video, some colors appear oversaturated, and may “clip” or “bleed” into other parts of the image. This distortion can be avoided by controlling the palette of colors you use in your graphics and animations. As you create the composite you’ll be outputting to video, resist the temptation to use the brightest and most saturated shades of color available. 1424 Appendix B Video and File Formats Using Fonts and Creating Line Art for Video When creating line art or selecting a font to use in an interlaced broadcast video image, avoid creating horizontal single-pixel lines. Also avoid using fonts that are too thin. Because of the line-alternating nature of interlaced video, single-pixel lines flicker when the field in which they appear turns on and off. This results in a buzzing effect in your graphics, with the buzzing becoming more pronounced the closer the thin portions of graphics or texture in your image come to the horizontal axis. This problem can be mitigated by adding a bit of blur or antialiasing to your image. Nonetheless, the best thing to do is to avoid single-pixel lines when creating graphics for broadcast. Scaling Imported High-Resolution Graphics A high-resolution image is useful to pan and zoom in or out of an image (such as a scanned map or photograph). There won’t be any image degradation because you typically won’t need to zoom more than 100 percent. Scaling video and still images up to more than 100 percent creates artifacts: individual pixels become noticeable, causing a stair-stepping effect on high-contrast diagonal lines. Sometimes the frame size of your imported graphic doesn’t match the frame size of your edited sequence. If the frame size of the graphic is too large, only a small part of your image appears in the Canvas. If it’s too small, the background color of the Canvas (usually black) appears behind the graphic. To scale an imported graphic to match the frame size of a sequence, use the following frame sizes: Frame size (pixels) Type of video 1920 x 1080 High definition, 16:9, square pixel 1280 x 720 High definition, 16:9, square pixel 720 x 486 Standard definition, 4:3, nonsquare pixel for NTSC 720 x 480 Standard definition DV, 4:3, nonsquare pixel for NTSC 720 x 576 Standard definition, 4:3, nonsquare pixel for PAL 640 x 480 Multimedia, 4:3, square pixel 480 x 360 Multimedia, 4:3, square pixel 320 x 240 Multimedia, 4:3, square pixel 240 x 180 Multimedia, 4:3, square pixel 160 x 120 Multimedia, 4:3, square pixel Appendix B Video and File Formats 1425 Creating Graphics for HD Projects Creating graphics and still images for high-definition (HD) video projects follows the same process as for standard-definition video. Full-raster high-definition video formats use square pixels. You don’t have to worry about adjusting high-definition image dimensions before importing your graphics into Motion. To determine the image dimensions for your sequence, follow the guidelines below. Sequence preset Still image dimensions 1080i 1920 horizontal x 1080 vertical 720p 1280 horizontal x 720 vertical Creating Graphics for 2K and 4K Projects Graphics and animations intended for digital cinema or film distribution are often created at 2K or 4K resolution, depending on how a project is mastered. Both 2K and 4K resolutions are square-pixel, progressive-frame formats, typically with a frame rate of 24 fps. To determine the image dimensions for your sequence, follow the guidelines below. Sequence preset Still image dimensions 4K 4096 horizontal x 2160 vertical 2K 2048 horizontal x 1080 vertical 1426 Appendix B Video and File Formats Use keyboard shortcuts to streamline your work in Motion. The tables in this appendix organize keyboard shortcuts by menu, component, and task. Some keyboard shortcuts are always active, whether you are working in the group that they are listed in, while other keyboard shortcuts are only active under special circumstances. Note: Some keyboard shortcuts described in this appendix may conflict with system commands assigned to the Mac OS X Finder. The keyboard shortcuts listed in the following pages are the Standard Set of shortcuts available in Motion. You can use the Command Editor to customize and save your own keyboard shortcuts to create a set that works best for you. The Command Editor lets you import and export saved sets, as well as duplicate a set of shortcuts to modify. This appendix covers the following: • Enabling Function Keys on Portable Macintosh Computers (p. 1428) • General Interface Commands (p. 1428) • Motion Menu (p. 1430) • File Menu (p. 1430) • Edit Menu (p. 1431) • Mark Menu (p. 1432) • Object Menu (p. 1433) • View Menu (p. 1434) • Share Menu (p. 1436) • Window Menu (p. 1437) • Help Menu (p. 1437) • Audio list (p. 1438) • Tools (p. 1438) • Transport Controls (p. 1444) • View Options (p. 1444) 1427 Keyboard Shortcuts C Appendix • Miscellaneous (p. 1446) • HUD (p. 1446) • File Browser (p. 1447) • Inspector (p. 1447) • Keyframe Editor (p. 1448) • Layers (p. 1448) • Library (p. 1449) • Media List (p. 1449) • Timeline Editing and Navigating (p. 1450) • Keyframing Commands (p. 1451) • Shape and Mask Commands (p. 1452) • Toolbar (p. 1453) • 3D Commands (p. 1453) • Using the Command Editor (p. 1454) Enabling Function Keys on Portable Macintosh Computers By default, on MacBook and MacBook Pro computers, the F1–F12 keys are assigned to hardware controls, such as brightness, audio volume, numlock, and so on. Therefore, you must press the Function (Fn) key with the F-key to invoke F-key commands in software applications. You can change keyboard preferences so the F-keys work in the traditional manner, without pressing the Fn key. When this setting is activated, you can press the Fn key with the F-key to activate the hardware commands. To enable traditional function keys µ In the Keyboard tab of the Keyboard & Mouse preferences in System Preferences, select the “Use all F1, F2, etc. keys as standard function keys” checkbox. Uncheck the box to return to the default setting. General Interface Commands Keyboard shortcut Function Open a project. O Create a project. N 1428 Appendix C Keyboard Shortcuts Keyboard shortcut Function Create a project from the Project Browser. option N Open the project’s Properties Inspector. J Save a project. S Save a project as a new project. shift S Close a project. W Import a file. I Import a file as a project. shift I Export movie. E Export a selection as a movie option E Print the current view of the Canvas. P Undo the last change. Z Redo the last change. shift Z Cut. X Copy. C Paste. V Duplicate D Select all items. A Deselect all items. shift A Delete. delete Close the active window. W Minimize the active window. M Open Motion Preferences. , Display Page Setup dialog. shift P Appendix C Keyboard Shortcuts 1429 Keyboard shortcut Function Hide Motion. H Hide other open application files. option H Quit Motion. Q Play/pause a project. space Turn on/off animation recording. A Go to the start of a project. home Go to the end of a project. end Motion Menu Keyboard shortcut Function Open Motion Preferences. , Hide Motion. H Hide other open application files. option H Quit Motion. Q File Menu Keyboard shortcut Function Create a project. N Create a project from the Project Browser. option N Open a project. O Close a project. W Save a project. S Save a project as a new project. shift S Import a file. I 1430 Appendix C Keyboard Shortcuts Keyboard shortcut Function Import files as a project. shift I Display Page Setup dialog. shift P Print the current view of the Canvas. P Create a project from a list of project presets. option N Close all open projects. option W Open the Page Setup window. shift P Print the current Canvas view. P Edit Menu Keyboard shortcut Function Undo the last change. Z Redo the last change. shift Z Cut. X Copy. C Paste. V Paste special. option V Duplicate. D Delete. delete Perform a ripple delete that removes the selected object and closes the gap left behind. shift delete Transform control points. shift T Select all items. A Deselect all items. shift A Open the project’s Properties Inspector. J Appendix C Keyboard Shortcuts 1431 Keyboard shortcut Function Find and replace. F Open the Special Characters window. option T Mark Menu Keyboard shortcut Function Mark In point. I Mark Out point. O Move the selected object’s In point to the location of the playhead. shift { Move the selected object’s Out point to the location of the playhead. shift } Add a project marker at the current frame. M Add a project marker at the current frame. Open the Edit Marker dialog. option M Mark In point of play range. option I Mark Out point of play range. option O Reset play range. option X Turn on Loop Playback. shift L Turn animation recording on and off. A Open the Recording Options window. option A Go to the start of a project. option home Go to the end of a project. end Go to the start of the play range. shift home Go to the end of the play range. shift end Go to the previous frame. 1432 Appendix C Keyboard Shortcuts Keyboard shortcut Function Go to the next frame. Go backward ten frames. shift Go forward ten frames. shift Go to the previous keyframe. option K Go to the next keyframe. shift K Go to the previous marker. option Go to the next marker. option Go to the selection in point. shift I Go to the selection out point. shift O Perform a RAM preview of the play range area. R Perform a RAM preview of the current selection. option R Perform a RAM preview for the whole project. shift option R Object Menu Keyboard shortcut Function Add an empty group to the project. shift N Add a camera to the project. option C Add a light to the project. shift L Add a drop zone to the project. shift D Add a rig to the project. control R Move the selected object to the top of the Layers list. shift } Move the selected object to the bottom of the Layers list. shift { Move the selected object up the Layers list by one level. ] Appendix C Keyboard Shortcuts 1433 Keyboard shortcut Function Move the selected object down the Layers list by one level. [ Group the selected objects into a new layer. shift G Ungroup a group of objects so you can manipulate the objects individually. option G Make an object active or deactivate an object. control T For an audio track, enable/disable the Solo button of the selected track. For an object, solo the object. control S Isolate the selected group or layer. control I Lock/unlock an object. control L Unsolo only the video portion of a file that contains video. shift control S Convert a 2D group to 3D, or convert a 3D group to 2D. control D Add an image mask to the selected object. shift M Add a keyframe (to the last modified parameter for the selected object). control K Convert the applied behaviors to keyframes. K Make the selected object the cell source for a particle emitter. E Replicate the selected object. L Clone the selected layer. K Open the Media list and Inspector to display the source and properties of media objects. shift F View Menu Keyboard shortcut Function Zoom in. = Zoom out. Zoom to 100 percent. option Z 1434 Appendix C Keyboard Shortcuts Keyboard shortcut Function Zoom to fit in window. shift Z Show Full View Area. shift V Set 3D View to Active Camera. control A Set 3D View to Perspective. control P Set 3D View to Next Camera. control C Select the current active camera. option control C Reset 3D Camera View. control R Fit the selected objects into view. F Frame the selected object. shift F Focus on the selected object. control F Show all color channels. shift C Show the transparent channel. shift T Show the alpha channel overlay. shift option T Show the RGB channels only. shift option C Show the red channel. shift R Show the green channel. shift G Show the blue channel. shift B Show the alpha channel. shift A Show the inverted alpha channel. shift option A Switch between the current channel and alpha channels. V Show the Canvas at full resolution. shift Q Enable/disable lighting in the Canvas. option L Enable/disable shadows in the Canvas. option control S Appendix C Keyboard Shortcuts 1435 Keyboard shortcut Function Enable/disable reflections in the Canvas. option control R Enable/disable depth of field in the Canvas. option control D Enable/disable motion blur in the Canvas. option M Enable/disable field rendering in the Canvas. option F Enable/disable frame blending in the Canvas. option control B Show Overlays. / Show the rulers. shift R Show/hide the grid. Show/hide the guides. ; Show/hide the Dynamic Guides. shift : Show/hide the Safe Zones. Show/hide the Film Zones. shift Lock the guides. option ; Enable/disable snapping to guides. N Show 3D overlays. option / Command-Shift-’ Show 3D grid. Show the Font dialog. T Show the Mac OS X Colors window. shift C Share Menu Keyboard shortcut Function Export movie. E Export selection to movie. option E 1436 Appendix C Keyboard Shortcuts Window Menu Keyboard shortcut Function Minimize the active window. M Show the Properties Inspector. F1 Show the Behaviors Inspector. F2 Show the Filters Inspector. F3 Show the Object Inspector. F4 Show/hide the Project pane. F5 Show/hide the Timing pane. F6 Show/hide the HUD. F7 Enter/Exit Player mode. F8 Show/hide the File Browser. 1 Show/hide the Library. 2 Show/hide the Inspector. 3 Show/hide the Layers list. 4 Show/hide the Media list. 5 Show/hide the Audio list. 6 Show/hide the Video Timeline. 7 Show/hide the Keyframe Editor. 8 Show/hide the Audio Timeline. 9 Help Menu Keyboard shortcut Function Open Motion Help. shift ? Appendix C Keyboard Shortcuts 1437 Audio list Keyboard shortcut Function Show/hide the Audio list. 6 Make object active or inactive. control T Lock/unlock an audio file. control L Enable/disable the Solo button of a selected track. control S Move up one level in the Audio list. Move down one level in the Audio list. Import. I Tools The tools in the toolbar activate a number of contextual keyboard commands. Depending on the tool chosen, different keyboard commands are available. Global Transform Commands Keyboard shortcut Function Activate the current transform mode. S Choose the Select/Transform tool. shift S Cycle through the transform modes. (Press repeatedly until the transform mode you want is selected.) tab Press Shift and drag the pointer. Constrain the movement of an object to the guidelines. Press Command and drag the Override snapping while moving an object. object. Press Option and drag the Duplicate a selected object. object. Select/Transform Tool Keyboard shortcut Function Press Shift and drag the object Scale an object proportionally. handle. Press Option and drag the object Scale an object from its center. handle. 1438 Appendix C Keyboard Shortcuts Keyboard shortcut Function Press Shift-Option and drag the Scale an object proportionally from its center. object handle. Press Shift and drag the object Snap the rotation of an object to 45 degree increments. rotation handle. Activate 3D transform tool. Q Crop Tool Keyboard shortcut Function Press Shift and drag the object Crop an object proportionally. handle. Press Option and drag the object Crop an object from its center. handle. Press Shift-Option and drag the Crop an object proportionally from its center. object handle. Press Command and drag over Pan a cropped object within the bounding box. the object. Press Option-Command and Move the bounding box around a cropped object. drag over the object. Edit Points Tool Keyboard shortcut Function Double-click the path. Add a point to a path. Press Option and click the path. Add a point to a path. Press Command and click the Convert a point to linear. point. Press Command and drag the Create a tangent on a control point. point. Press Command and drag the Scale a tangent proportionally. tangent handle. Press Command and drag a Adjust a B-Spline point bias. B-Spline point. Press Command and click a Switch a B-Spline point bias. B-Spline point. Press Option and drag a tangent Break or relink a tangent handle. handle. Press Shift and drag a tangent Constrain a tangent to 45 degrees and original value. handle. Appendix C Keyboard Shortcuts 1439 Pan & Zoom Tools Keyboard shortcut Function Select the Pan tool. H Select the Zoom tool. Z Press Option and click in the Zoom out with the Zoom tool selected. Canvas. Rectangle & Circle Tools Keyboard shortcut Function Select the Rectangle Shape tool. R Select the Circle Shape tool. C Press Shift and drag in the Draw a shape proportionally. Canvas. Press Option and drag in the Draw a shape from its center. Canvas. Press Shift-Option and drag in Draw a shape proportionally from its center. the Canvas. Press Shift and drag a rotation Snap the rotation of an object to 45 degree increments. handle Bezier Tool Keyboard shortcut Function Select the Bezier tool. B Switch between the Bezier and B-spline tools. B Close shape. C Press Command and click a path. Add a point to the path. Double-click a path. Add a point to the path. Press Command and click a Convert a point to linear. point. Press Command and drag a Create tangents on a point. point. Press Command and drag a Scale a tangent handle proportionally. tangent handle. 1440 Appendix C Keyboard Shortcuts Keyboard shortcut Function Press Option and drag a tangent Break or relink a tangent handle. handle. Press Shift and drag a tangent Constrain a tangent to 45 degree increments and original value. handle. Cancel shape drawing and delete the open shape. esc Exit shape-drawing mode. return B-Spline Tool Keyboard shortcut Function Select the B-Spline tool. B Switch between the Bezier and B-Spline tools. B Close the shape. C Double-click a path. Add a point to the path. Press Command and click a path. Add a point to the path. Press Command and drag a Adjust a B-Spline point bias. B-Spline point. Press Command and click a Switch a B-Spline point bias. B-Spline point. Cancel shape drawing and delete the open shape. esc Exit shape drawing mode. return Paint Stroke Tool Keyboard shortcut Function Activate Paint Stroke tool. P Press Command and drag in the Adjust stroke width. Canvas. Text Tool Keyboard shortcut Function Select the Text tool. T Press the Up, Down, Left, or Move the insertion point to the next character. Right Arrow key. Appendix C Keyboard Shortcuts 1441 Keyboard shortcut Function Press Option and the Up, Down, Move the insertion point to the next word. Left, or Right Arrow key. Move to the beginning of a line of text. Move to the end of a line of text. Press Shift and the Up, Down, Select characters from the insertion point. Left, or Right Arrow key. Press Shift-Option and the Up, Select words from the insertion point. Down, Left, or Right Arrow key. Press Shift-Command and the Select a line of text from the insertion point. Up, Down, Left, or Right Arrow key. Increase kerning from the insertion point. control Decrease kerning from the insertion point. control Select All. A Deselect All. shift A Exit Text tool. esc Rectangle Mask & Circle Mask Tools Keyboard shortcut Function Select the Rectangle Mask tool. option R Select the Circle Mask tool. option C Select the Freehand Mask tool. option P Press Shift and drag in the Draw a mask proportionally. Canvas. Press Option and drag in the Draw a mask from its center. Canvas. Press Shift-Option and drag in Draw a mask proportionally from its center. the Canvas. Press Shift and drag a rotation Snap the rotation of a mask to 45 degree increments. handle. 1442 Appendix C Keyboard Shortcuts Bezier Mask Tool Keyboard shortcut Function Select the Bezier Mask tool. option B Switch between the Bezier Mask and B-Spline Mask tools. option B Close mask. C Double-click a path. Add a point to the path. Press Command and click a path. Add a point to the path. Press Command and click a Convert a point to linear. point. Press Command and drag a Create tangents on a point. point. Press Command and drag a Scale tangents proportionally. tangent handle. Press Option and drag a tangent Break or relink a tangent handle. handle. Press Shift-Option and drag a Constrain a tangent to 45 degrees and original value. tangent handle. Cancel shape drawing and delete the open shape. esc Exit shape-drawing mode. return B-Spline Mask Tool Keyboard shortcut Function Select the B-Spline Mask tool. option B Switch between the Bezier Mask and B-Spline Mask tools. option B Close the mask. C Double-click a path. Add a point to the path. Press Command and click a path. Add a point to the path. Press Command and drag a Adjust a B-Spline point bias. B-Spline point. Press Command and click a Switch a B-Spline point bias. B-Spline point. Cancel shape drawing and delete the open shape. esc Appendix C Keyboard Shortcuts 1443 Keyboard shortcut Function Exit shape-drawing mode. return Select the Bezier Mask tool. option B Show/hide mask control points. Transport Controls Keyboard shortcut Function Play/pause a project. space Turn animation recording on or off. A Enable/disable loop playback. shift L Go to the start of a project. home Go to the end of a project. end Go to the start of the play range. shift home Go to the end of the play range. shift end Go to the previous frame. Go to the next frame. Go backward ten frames. shift Go forward ten frames. shift View Options Keyboard shortcut Function Zoom in. = Zoom out. Press Option and click the Zoom out with the Zoom tool selected. Canvas. 1444 Appendix C Keyboard Shortcuts Keyboard shortcut Function Press Command and drag in the Zoom to region. Canvas. Zoom to 100 percent. option Z Zoom to fit in the Canvas. shift Z Show all color channels. shift C Show the transparent channel. shift T Show the alpha channel overlay. shift option T Show the RGB channels only. shift option C Show the red channel. shift R Show the green channel. shift G Show the blue channel. shift B Show the alpha channel. shift A Show the inverted alpha channel. shift option A Show the Canvas at full resolution. shift Q Enable/disable field rendering in the Canvas. option F Enable/disable motion blur in the Canvas. option M Show the rulers. shift R Lock the guides. option ; Show/hide the grid. Show/hide the guides. ; Show/hide dynamic guides. shift : Show/hide film zones. shift Show overlays. / Switch between the current channel and alpha channel. V Appendix C Keyboard Shortcuts 1445 Keyboard shortcut Function Show/hide safe zones. Enable/disable snapping to guides. N Expose active layers. X Expose all layers. shift X Miscellaneous Keyboard shortcut Function Create a particle emitter. E Import an image mask to the selected object. shift M In the Keyer filter, reset the chroma zoom and center (when the pointer is over the Chroma control). shift Z Select the next object above. Select the next object below. Press Command and the Up Nudge the selected objects one pixel. Arrow, Down Arrow, Left Arrow, or Right Arrow key. Press Shift-Command and the Nudge the selected objects 10 pixels. Up Arrow, Down Arrow, Left Arrow, or Right Arrow key. Press Shift and drag in the Add/Remove selected objects using the region box. Canvas. Press Command and click an Select multiple objects in a group or layer. object or objects. Press Shift and click an object. Add to selection. HUD Keyboard shortcut Function Show/hide the HUD. F7 Cycle through the HUDs from top to bottom (when more than one effect is applied to an object). D 1446 Appendix C Keyboard Shortcuts Keyboard shortcut Function Cycle through the HUDs from bottom to top (when more than one effect is applied to an object). shift D File Browser Keyboard shortcut Function Show/hide File Browser. 1 Open project. O New project. N Show/hide Project pane. F5 Move up one item in the sidebar or file stack. Move down one item in the sidebar or file stack. Move left one item in the file stack. Move right one item in the file stack. Select first item in the file stack. space Move up one level in the folder hierarchy of the file stack. Inspector Keyboard shortcut Function Show/hide the Inspector. 3 Press the Up Arrow or Right Increase a slider value by an increment of one. Arrow key. Press the Down Arrow or Left Decrease a slider value by an increment of one. Arrow key. Press Command and the Up Increase a slider value by an increment of ten. Arrow or Right Arrow key. Press Command and the Down Decrease a slider value by an increment of ten. Arrow or Left Arrow key. Appendix C Keyboard Shortcuts 1447 Keyframe Editor Keyboard shortcut Function Show/hide the Keyframe Editor. 8 Convert the applied behaviors to keyframes. K Fit visible curves. F Layers Keyboard shortcut Function Create a group. shift N Bring the object to the top of the group. ] Send the object to the bottom of the group. [ Bring the object up one level in the Layers list. ] Send the object down one level in the Layers list. [ Place the selected objects in a new group. shift G Ungroup a group of objects so you can manipulate each object. option G Make the object active or deactivate the object. control T Enable/disable the Solo button of a selected track. control S Isolate the selected group or layer. control I Lock/unlock an object. control L Move up one level in the Layers list. Move down one level in the Layers list. Expand a group in the Layers list. option Collapse a group in the Layers list. option Import. I 1448 Appendix C Keyboard Shortcuts Keyboard shortcut Function Add an image mask to the selected object. shift M Convert the applied behaviors to keyframes. K Open the Media list and Inspector to reveal the source and properties of media objects. shift F Clone the selected layer. K Library Keyboard shortcut Function Show/hide the Library. 2 Select the first item in the sidebar or file stack. space Move up one item in the sidebar or file stack. Move down one item in the sidebar or file stack. Move left one item in the file stack. Move right one item in the file stack. Move up one level in the folder hierarchy of the file stack. Media List Keyboard shortcut Function Show/hide the Media list. 5 Move up one level in the Media list. Move down one level in the Media list. Import. / Appendix C Keyboard Shortcuts 1449 Timeline Editing and Navigating Keyboard shortcut Function Nudge one frame forward. Nudge one frame backward. Nudge ten frames forward. shift Nudge ten frames backward. shift Move the selected object to the In point. shift { Move the selected object to the Out point. shift } Mark the In point of the play range. I Mark the Out point of the play range. O Reset the play range by moving the In and Out points to the first and last frames of the project. option X Enable/disable loop playback. shift L Open the Recording Options dialog. option A Go to the start of play range. shift home Go to the end of play range. shift end Go to the In point of the selected object. shift I Go to the Out point of the selected object. shift O Go to the previous frame. Go to the next frame. Go backward ten frames. shift Go forward ten frames. shift Go to the next marker. option Go to the previous marker. option Render a RAM Preview for the play range. R 1450 Appendix C Keyboard Shortcuts Keyboard shortcut Function Render a RAM Preview for the selected object. option R Render a RAM Preview for the project. shift option R Mark an In point. I Mark an Out point. O Add a marker at the current frame. M Add a marker at the current frame. Open the Edit Marker dialog. option M Play/pause the project. space Turn on/off animation recording. A Go to the start of project. home Go to the end of project. end Convert the applied behaviors to keyframes. K Perform a ripple delete. shift delete Paste special. option V Fit Timeline in window. shift Z Keyframing Commands Keyboard shortcut Function Double-click a path. Add a point to the path. Press Option and click a path. Add a point to the path. Press Command and drag a Create tangents on a point. Bezier point. Press Command and click a Convert a point to linear. Bezier point. Press Command and drag a Adjust a B-Spline point bias. B-Spline point. Appendix C Keyboard Shortcuts 1451 Keyboard shortcut Function Press Command and click a Switch a B-Spline point bias. B-Spline point. Press Command and drag a Scale tangents proportionally. tangent handle. Press Option and drag a tangent Break or relink a tangent handle. handle. Press Shift and drag a tangent Constrain a tangent to 45 degrees and original value. handle. Shape and Mask Commands Keyboard shortcut Function Draw a shape proportionally with the Rectangle, Circle Shape, and Mask tools. Press Shift and drag in the Canvas. Draw a shape from its center with the Rectangle, Circle Shape, and Mask tools. Press Option and drag in the Canvas. Draw a shape proportionally from its center with the Rectangle, Circle Shape, and Mask tools. Press Shift-Option and drag in the Canvas. Cancel spline drawing and delete the open spline. esc Exit spline drawing mode and complete the existing spline drawing. return Double-click a path. Add a point to the path. Press Option and click a path. Add a point to the path. Press Command and click a Convert a point to linear. Bezier point. Press Command and drag a Create tangents on a point. Bezier point. Press Command and drag a Scale tangents proportionally. tangent handle. Press Command and drag a Adjust a B-Spline point bias. B-Spline point. Press Command and click a Switch a B-Spline point bias. B-Spline point. Press Option and drag a tangent Break or relink a tangent handle. handle. Press Shift and drag a tangent Constrain a tangent to 45 degrees and original value. handle. 1452 Appendix C Keyboard Shortcuts Toolbar Keyboard shortcut Function Activate the current transform mode. S Choose the Select/Transform tool. shift S Cycle through the transform modes. (Press repeatedly until the transform mode you want is selected.) tab Select the Pan tool. H Select the Zoom tool. Z Select the Rectangle Shape tool. R Select the Circle Shape tool. C Switch between the Bezier and B-Spline tools. B Select the Text tool. T Select the Rectangle Mask tool. option R Select the Circle Mask tool. option C Switch between the Bezier Mask and B-Spline Mask tools. option B 3D Commands Keyboard shortcut Function Select the 3D transform tool. Q Switch the 3D transform tool between position-only and universal. , Switch the 3D transform tool between rotate-only and universal. . Switch the 3D transform tool between scale-only and universal. / Set 3D View to Active Camera. control A Set 3D View to Perspective. control P Set 3D View to next camera. control C Appendix C Keyboard Shortcuts 1453 Keyboard shortcut Function Reset the 3D camera view. control R Create a 3D Group of the selected objects. control D Command-Shift-’ Switch the 3D grid on and off. Using the Command Editor Motion provides menu commands and keyboard shortcuts that let you control almost every aspect of your project, from playback to displaying windows and inspectors to working with tools. The Command Editor lets you search or browse the commands and keyboard shortcuts in Motion. In addition, the Command Editor lets you customize keyboard shortcuts so you can streamline the way you work. This section covers how to modify keyboard shortcuts using the Command Editor. Use the Command Editor’s search tools to find keyboard commands, view their descriptions, and preview highlighted key combinations in a visual representation of your keyboard. You can modify shortcuts, create shortcuts, and save multiple sets that can be imported and exported for use by others. If you’re more familiar with keyboard commands from other applications, you can use the Command Editor to substitute those commands for Motion’s default set. Motion provides four built-in sets of keyboard shortcuts for the following languages: English, Japanese, French, and German. To display the Command Editor in Motion µ Choose Motion > Commands > Customize. 1454 Appendix C Keyboard Shortcuts The Command Editor appears. Command Set options Keyboard highlight button Search field Modifier key buttons Command groups Command list Detail area Command Editor Interface The upper half of the Command Editor displays a virtual keyboard. The lower half contains a Command List that sorts menu commands by group and offers a brief description of each command, along with its associated key combination, if any. The virtual keyboard is color-coded to help you identify the type of command each key performs. For example, transport commands, such as Play (Space bar) and Record (A), are light blue, while alignment commands are pink. The Command Groups window on the left side of the Command List contains a clickable color key for reference. Appendix C Keyboard Shortcuts 1455 Keys assigned to shortcuts are marked with a white dot, while unassigned keys have no additional markings. Several keys are shaded with a hatch pattern, indicating that they are reserved for system use. Hatch pattern indicates that the key is reserved by the System. White dot indicates that a shortcut is assigned to the key. Choosing a Set By default, Motion uses the Standard Set of commands, with the language choice that you specified when you set up your computer. To choose a key command set Do one of the following: µ Choose Motion > Commands, then choose a set from the submenu. µ If the Command Editor is open, choose a set from the pop-up menu in the upper-left corner. After you choose the command set you want, the keyboard shortcuts in the set become active in Motion. Viewing Keyboard Shortcuts by Group The Command List displays several groupings of commands, organized by Motion menus as well as types of commands (Alignment, Tools, Transport, Go To, View, and Mark). Click a group to filter the Command list to display only the commands and keyboard shortcuts in that group. Selected group 1456 Appendix C Keyboard Shortcuts Searching for Commands Use the Search field in the upper-right corner of the Command Editor to locate a command or keyboard equivalent. You can search by command name, description, or keyboard shortcut. To search for a keyboard shortcut µ In the Command Editor, click in the Search field and enter a word that describes the keyboard shortcut you need. The Command List immediately displays the search results, listing all commands and key combinations related to the search term. You can narrow your search by choosing a category from the Search field pop-up menu. The menu items include All, Command, Description, and Key Equivalent. Note: Do not use the Shift key to capitalize letters when typing in the Search field. The Search field recognizes the Shift key as a modifier key in a keyboard shortcut. You can use the Search field with the virtual keyboard to highlight keyboard shortcuts. To search for and highlight a shortcut on the virtual keyboard 1 Click the Keyboard Highlight button to the left of the Search field. The keyboard dims. 2 Click in the Search field and begin typing. Motion filters the Command List as you type and highlights the keys related to your search term. For example, in the image below, the search term “Ripple” returns two keyboard shortcuts for the Ripple Delete command, and the command keys are highlighted in the virtual keyboard. Appendix C Keyboard Shortcuts 1457 Note: When you turn on the Keyboard Highlight button, only command keys are highlighted. Modifier keys that may be part of the keyboard shortcut (Command, Shift, Option, and Control) are not highlighted. Keyboard Highlight button Search field Highlighted key Filtering the View by Modifier Keys You can use the Modifier buttons (Command, Shift, Option, and Control) at the top of the Command Editor to see which keys work with the modifier keys. To filter by modifier keys 1 Click one of the four modifier buttons at the top of the Command Editor (or click a modifier key on the virtual keyboard). Keys assigned to work with the selected modifier key appear marked with a dark gray dot. 2 If necessary, click another modifier button (or modifier key in the virtual keyboard) to create a combination. The virtual keyboard updates to show which keys are assigned to shortcuts that use those combined modifier keys. 1458 Appendix C Keyboard Shortcuts Viewing Key and Command Details The window to the right of the Command List shows additional information about a selected key in the virtual keyboard or a selected command in the Command List. When you select a key in the virtual keyboard, this window displays a list of all keyboard shortcuts associated with that key. Selected key Commands associated with the selected key When you select a command in the Command List, this window displays a brief description of the command. Customizing Keyboard Shortcuts Customizing shortcuts in the Command Editor is easy. Because the default Standard Set includes commands for which no shortcut is defined, you might want to apply a new shortcut to them. Because you cannot modify the Standard Set, you must duplicate that set and then customize the new duplicate set. To duplicate the active command set 1 Choose Duplicate from the pop-up menu at the top of the Command Editor. A dialog appears and prompts you to name the new set. 2 Enter a name in the dialog, then click OK. The new duplicate set is saved and appears as an item at the bottom of the pop-up menu and the top-level Motion > Commands menu. Appendix C Keyboard Shortcuts 1459 Now that you have a duplicate set of assigned keyboard shortcuts, you can modify the key settings to create new or modified shortcuts. To add or modify a keyboard shortcut 1 Using the Search field of the Command Editor, find and select the command you want to assign a keyboard shortcut to. Alternatively, you can find the command by browsing through the Command List. 2 Using your physical keyboard, press the combination of keys you want to use for the command (for example, Shift-Option-T). If the key combination is not assigned to a command, the virtual keyboard updates to show the new key assignment. A gray dot appears on a newly assigned key (or keys), and a color is applied if the command belongs to a color-coded command group. If the key combination is already assigned to a command, Motion displays the current setting, and prompts you to confirm the change. After you make changes to the command set, you can use the following method to save the changes. To save a command set µ Click the Save button in the lower-right corner of the Command Editor. If you close the Command Editor with unsaved changes, Motion prompts you to save the set. To delete a command set 1 Make sure you use the set you want to delete, then choose Delete from the pop-up menu at the top of the Command Editor. A dialog appears. 2 Click Delete. The set is removed, and the Standard Set becomes the active set of commands. Importing and Exporting Command Sets After you save a command set, you can export it to create a backup or to share the set with another user. Exported sets are saved in a file that can be imported back into Motion later. To export a set of keyboard shortcuts 1 If necessary, use the pop-up menu to activate the command set you want to export, then do one of the following: • In the Command Editor, choose Export from the pop-up menu. • Choose Motion > Commands > Export. A Save As dialog appears. 1460 Appendix C Keyboard Shortcuts 2 Navigate to the location where you want to save the exported set, then enter a name in the Save As field. 3 Click OK. The file is saved in the location you chose, with the “.commandset” filename extension. To import a set of shortcuts 1 Do one of the following: • In the Command Editor, choose Import from the pop-up menu. • Choose Motion > Commands > Import. An Open dialog appears. 2 Navigate to the location where you stored a command set file, select it, then click Open. The new command set is added to the Motion > Commands submenu and the pop-up menu in the Command Editor. If you use a set with the same name, a dialog appears and prompts you to rename the set. Appendix C Keyboard Shortcuts 1461 If you use a Wacom tablet and pen with your computer system, you can use gestures to navigate in Motion and to perform tasks such as editing, copying, pasting, and so on. Gestures are continuous, uninterrupted patterns drawn in the Motion user interface (using your tablet). Note: The supported tablet for using gestures in Motion is the Wacom Intuos tablet family. Swipes, pinches, and other gestures performed on a Multi-Touch device (such as a trackpad or Magic Mouse) are unrelated to the gestures described in this appendix. Multi-Touch gestures require no setup or special controls. This appendix covers the following: • Configuring Gesture Setup (p. 1463) • Wacom Settings (p. 1465) • Using Gestures (p. 1466) Configuring Gesture Setup You can change the default gesture input and trigger methods in Motion Preferences. When gestures are enabled, you can use a modifier key (the Control key) or a button on the pen to trigger gesturing. Before you can use gestures, Handwriting Recognition must be enabled in Mac OS X Ink Preferences. Ink Preferences can be accessed in Motion Gesture Preferences. Important: To use gestures, make sure that your Wacom tablet and its current drivers are correctly installed. For more information, see your tablet’s documentation or website. To set up Motion Gesture Preferences 1 In Motion, choose Motion > Preferences (or press Command-Comma). 2 Click Gestures. 1463 Using Gestures D Appendix The Gestures Preferences pane appears. Turn gestures on or off. Important: Gestures in Motion use the Inkwell technology in Mac OS X. To use gestures, you must enable Handwriting Recognition in Motion Preferences. If you cannot turn gestures on at this point, or perform the following steps, click Open Ink Preferences and follow the instructions in the section, Gestures in the Air. After you enable Handwriting Recognition, complete the following steps. 3 For “Gestures are,” ensure that On is selected. 4 To select a gesture input method, select an option from the Trigger pop-up menu: • Choose Pen Button 1 to invoke gestures by pressing the first button (the button closest to the tip) on the pen. • Choose Pen Button 2 to invoke gestures by pressing the second button on the pen. • Choose Modifier (Ctrl) to invoke gestures by pressing Control. Gestures in the Air You can use gestures by swiping just above the tablet, without the tip of the pen touching the tablet. Turn this feature on by selecting the “Allow gestures in the air” checkbox. Important: To use gestures in the air, you must set a pen button as the gesture trigger input method, as well as set pen button 1 to Ignored in the Tool Buttons tab of the Wacom Tablet application. For more information, see Wacom Settings. To set up Ink Preferences 1 In the Gestures pane of Motion Preferences, click Open Ink Preferences. The Ink Preferences appear. 1464 Appendix D Using Gestures 2 For “Handwriting recognition is,” click the On option. Turn handwriting recognition on or off. By default, a “whoosh” sound is played when gestures are drawn. To disable the default gesture sound 1 Click the Options button in Ink Preferences. 2 In the Ink dialog, deselect “Play sound while writing.” Turn “Play sound while writing” on and off. Wacom Settings In the Mac OS X System Preferences for the Wacom Tablet, you can create customized tool settings for an application. For example, you can disable the pen buttons for use in Motion but set button 1 to act as a double-click for another application. Appendix D Using Gestures 1465 To customize pen buttons for a an application 1 In Mac OS X System Preferences for Wacom Tablet, click the Add button (+) in the Application row. 2 In the Select Application dialog, do one of the following: • If Motion is open, select it from the Currently Open Applications list. • If Motion is not open, click the Browse button, navigate to and select Motion, click Open, then click OK. The Motion application appears in the Selected Application field. 3 Click OK. The dialog closes, and Motion appears in the Application row of the System Preferences pane. 4 Click the Motion icon, then set your pen tool options. 5 To set customized tool settings for another application, follow steps 2–4 for that application. For more information, see your tablet’s documentation. Using Gestures The following illustration shows the basic gesture anatomy. The green dot represents the start of the gesture; the blue arrow is the direction of your gesture; and the red dot the end of the gesture. Draw the gesture on the tablet, with your pointer in the Motion Canvas or Timeline. Direction of movement Gesture end position Gesture start position Modifier Keys Many gestures have additional functionality when used with a key on the keyboard. In the following tables, if a gesture has an entry in the Modifier keys column, it has additional functionality accessible via a keyboard shortcut. For example, if you have the Control key set as the gesture trigger, and you draw the play forward gesture, the project plays forward from the current time. If you press Control-Shift and draw the play forward gesture, the project plays from the start of the project. 1466 Appendix D Using Gestures The Motion Gestures The following tables describe the available Motion gestures and their modifier keys, where applicable. Note: There is no defined minimum or maximum scale for the gestural input. The tolerance is defined by the Inkwell technology. However, the size at which gestures are drawn may affect the result of the gesture. For example, when using the fit-to-fill zoom gesture and you draw a large circle, the zoom amount is small. If you draw a small circle, the zoom is large. Playback Control Gestures Use the gestures described in the following table for controlling playback. Gesture Description Modifier keys Advance one frame. To advance in increments of 10 frames, press Shift. Go back one frame. To go back in increments of 10 frames, press Shift. • To play from start, press Shift. • To turn looping on or off, press Option. Play forward at normal speed. Stop or pause playback. General Navigation Use the gestures in the following table for general navigation, such as zooming the Canvas and displaying the panes in the Motion user interface. Gesture Description Modifier keys • To zoom to the area within the gesture, press Shift. For example, if you draw a small gesture around an area, you get a large zoom. If you draw a large gesture, you get a small zoom. • To position the zoom at the center of the gesture, press Option. Zoom in to the Canvas. Appendix D Using Gestures 1467 Gesture Description Modifier keys To position the zoom out at the center of the gesture, press Option. Zoom out of the Canvas. Select the Zoom tool. To zoom in and out of the Canvas, move the pen left or right. The zoom is centered on the area where the pointer is placed in the Canvas. Select the Pan tool. Set the Canvas to Home (100 percent). To switch the Canvas display to full-screen mode, press Shift. Fit the Canvas in the window. Show or hide the Timing pane. Show or hide the Project pane. Show or hide the Inspector. Show or hide the File Browser. Show or hide the Library. 1468 Appendix D Using Gestures General Commands The following table describes the gestures for general commands, such as undo, select, and copy and paste. Gesture Description Modifier keys Undo. Redo. Delete the selected object. Choose the Select/Transform tool. Show and hide the HUD. Copy. Paste. Note: The Paste command may be a bit tricky to master. Timeline Navigation and Editing Gestures The following table describes the gestures used for Timeline navigation and editing. Appendix D Using Gestures 1469 Gesture Description Modifier keys Go to the start of the play range. Go to the end of the play range. Go to the start of the project. Go to the end of the project. Go to the start of the selected object. Go to the end of the selected object. Group. Ungroup. To move the In point to the playhead position, press Shift. Set a local In point for the selected object. 1470 Appendix D Using Gestures Gesture Description Modifier keys To move the Out point to the playhead position, press Shift. Set a local Out point for the selected object. To bring an object to the front of the stack, press Shift. Bring the selected object forward in the stack. To send an object to the back of the stack, press Shift. Send the selected object backward in the stack. • To edit a project marker, press Shift. • To clear a project marker, press Option. Add a project marker. • To edit an object marker, press Shift. • To clear an object marker, press Option. Add an object marker. To clear the play range, press Option. Set the start of the play range. To clear the end of the play range, press Option. Set the end of the play range. Appendix D Using Gestures 1471 Final Cut Pro User Guide Final Cut Pro User Guide 2 Contents What’s new 6 What’s new in Final Cut Pro 10.6 6 What’s new in Final Cut Pro 10.5.3 6 What’s new in Final Cut Pro 10.5 7 What’s new in Final Cut Pro 10.4.9 8 What’s new in Final Cut Pro 10.4.7 9 What’s new in Final Cut Pro 10.4.6 9 What’s new in Final Cut Pro 10.4.4 9 What’s new in Final Cut Pro 10.4.1 10 What’s new in Final Cut Pro 10.4 11 What’s new in Final Cut Pro 10.3 12 What’s new in Final Cut Pro 10.2 14 What’s new in Final Cut Pro 10.1.2 16 What’s new in Final Cut Pro 10.1 17 What’s new in Final Cut Pro 10.0.6 19 What’s new in Final Cut Pro 10.0.3 21 What’s new in Final Cut Pro 10.0.1 22 Final Cut Pro basics 23 What is Final Cut Pro? 23 What are libraries? 25 Final Cut Pro workflow 26 Final Cut Pro interface 28 Media files and clips 30 Import and analyze media 32 Intro to importing media 32 If it’s your first import 33 Import from connected cameras 33 Import from devices 46 Final Cut Pro User Guide 3 Organize files during import 50 Import from other apps 52 Record into Final Cut Pro 56 Memory cards and cables 58 Supported media formats 59 Adjust ProRes RAW camera settings 61 Import REDCODE RAW files 62 Import Canon Cinema RAW Light files 64 Analyze media 65 Play back and organize media 71 Play back and skim media 71 Organize your library 87 Edit your project 114 Intro to editing 114 Create and manage projects 115 Select clips and ranges 122 Add and remove clips 131 Make three-point edits 150 Arrange clips in the timeline 156 Cut and trim clips 162 View and navigate 182 Work with markers 195 Correct shaky video 201 Edit audio 204 Intro to audio 204 Audio editing basics 205 Add audio 214 Edit audio clips or audio components 222 Add and adjust audio effects 246 Audio tools and techniques 261 Add titles 271 Add and adjust titles 271 Add and adjust 3D titles 288 Final Cut Pro User Guide 4 Add effects 338 Intro to effects 338 Add and adjust transitions 339 Adjust built-in effects 349 Add and adjust clip effects 367 Add generators 393 Use onscreen controls 400 Animate video effects 406 Advanced editing 417 Use roles to manage clips and organize the timeline 417 Add, adjust, and share captions 443 Group clips with compound clips 471 Edit with multicam clips 479 Add storylines 508 Use the precision editor 512 Try out clips using auditions 515 Retime clips to create speed effects 523 Conform frame sizes and rates 538 Use XML to transfer projects 542 Edit 360-degree video 544 Change the focus in Cinematic mode video 566 Keying, masking, compositing, and tracking 573 Keying 573 Masking 592 Compositing 614 Tracking 617 Color correction 631 Intro to color correction 631 Quickly balance and match color 632 Make advanced color corrections with color correction effects 637 Add color masks and shape masks 665 Wide color gamut and HDR 677 Apply LUTs 693 Color correction tools and techniques 700 Final Cut Pro User Guide 5 Share your project 715 Intro to sharing projects 715 Share to Apple devices 716 Export files 720 Share on the web 736 Create optical discs and disk images 738 Share in email 743 Batch sharing 745 Share using Compressor 746 Create share destinations 750 Change metadata for shared items 755 View the status of shared items 758 Manage media, libraries, and archives 760 Intro to media management 760 Manage your media files 761 Manage libraries 778 Create camera archives 786 Common media management issues 789 Work smarter 794 Final Cut Pro preferences 794 Keyboard shortcuts and gestures 807 Customize the Final Cut Pro interface 838 Work with metadata 844 Use color and gradient controls 852 Download sound effects and Pro Video Formats 862 Glossary 864 Copyright 886 Final Cut Pro User Guide 6 What’s new What’s new in Final Cut Pro 10.6 Final Cut Pro 10.6 introduces new features and enhancements, detailed below. Object tracker Track moving objects to match their movement with an effect, graphic, or title. Use easy drag-and-drop controls and automatic object and face detection. See Intro to object tracking. Cinematic mode video Import clips recorded in Cinematic mode on iPhone into Final Cut Pro, then use onscreen controls to switch the focus between subjects, lock the focus on a particular subject or distance from the camera, and adjust the depth of field. See Intro to Cinematic mode video. System requirements The recommended system requirement for Final Cut Pro 10.6 is macOS Monterey. The minimum system requirement is macOS 11.5.1. Working with Cinematic mode video in Final Cut Pro requires macOS Monterey or later. For more information, go to the Final Cut Pro Tech Specs website. What’s new in Final Cut Pro 10.5.3 Final Cut Pro 10.5.3 introduces new features and enhancements, detailed below. Custom column sets Create and save custom column arrangements in the browser, and edit them with the Column Set Editor. See Create and share column sets. Final Cut Pro User Guide 7 Enhanced browser search • Search for media using expanded criteria, including clip text, markers, and notes. See Search for clips or projects by text in notes, names, or markers. • Quickly search for clips by media type. You can search for original, proxy, or optimized media, as well as missing media. See Search for clips and projects by a combination of criteria. System requirements The recommended system requirement for Final Cut Pro 10.5.3 is macOS Big Sur. The minimum system requirement is macOS 10.15.6. For more information, go to the Final Cut Pro Tech Specs website. What’s new in Final Cut Pro 10.5 Final Cut Pro 10.5 introduces new features and enhancements, detailed below. System requirements The recommended system requirement for Final Cut Pro 10.5 is macOS Big Sur. The minimum system requirement is macOS 10.15.6. For more information, go to the Final Cut Pro Tech Specs website. Apple silicon Final Cut Pro now runs natively on Apple silicon and Intel-based Mac computers. Automatic transcoding when copying or consolidating media Final Cut Pro can now transcode media automatically when you copy or consolidate a project, event, or library. See Create a proxy-only project, Copy items to another library, and Consolidate projects and libraries. Searchable Final Cut Pro User Guide Search the online Final Cut Pro User Guide by entering your query in the search field at the top of any page, then pressing Return. Downloadable Final Cut Pro User Guide PDF To read the user guide offline, click Download the PDF at the bottom of the Final Cut Pro User Guide Welcome page. Final Cut Pro User Guide 8 What’s new in Final Cut Pro 10.4.9 Final Cut Pro 10.4.9 introduces new features and enhancements, detailed below. Enhanced proxy workflows • Create a proxy-only copy of a library, event, or project to reduce size for portability or performance. See Create a proxy-only project. • Create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original, and in either Apple ProRes 422 Proxy or H.264 format. See Create optimized and proxy files and Import preferences. • Choose to display and play back original or optimized media if proxy media is not available for some clips in your project. See Choose the type of playback media. • Delete optimized or proxy files for individual clips. Social media tools • Transform projects for square or vertical delivery for social media. Use the new Duplicate Project As command to quickly create a new version of an existing project in a different aspect ratio. See Create square or vertical versions of a project. • When you create a version of a project in a different aspect ratio, use Smart Conform to automatically reframe clips in your new project. See Adjust framing with Smart Conform. • Add a custom overlay as an onscreen guide when placing text and graphics in your project. See Show overlays in the viewer. • Use a new overscan view to display media outside the viewer boundary when adjusting a clip’s scale, rotation, and position with the Transform effect. See Resize, move, and rotate clips in Final Cut Pro. 360° video features • View and edit stereoscopic 360° video with simultaneous left-eye and right-eye views in the 360° viewer. See View and navigate 360-degree video. • When patching a portion of a 360° clip with the 360° Patch effect, create a separate connected clip with just the patch image. See Create a separate clip with only the 360° Patch image. • Video stabilization as well as 5.7K and 8K project resolutions are now available for 360° video. Other notable features • Crossfade audio on adjacent clips in one step using a menu command or keyboard shortcut. See Crossfade audio. • Adjust ProRes RAW camera settings such as ISO, color temperature, and exposure offset using new controls in the inspector. • Use a new pop-up menu above the timeline to close the project open in the timeline or clear the project history. See Open and close projects. • Sort clips and projects by last modified date in the browser in list view. Final Cut Pro User Guide 9 What’s new in Final Cut Pro 10.4.7 Final Cut Pro 10.4.7 introduces new features and enhancements, detailed below. Improved HDR support Use your Pro Display XDR as a professional HDR reference monitor. You can now also view beautiful HDR content on a wide range of displays. The HDR image in the Final Cut Pro viewer is tone mapped to fit the properties of an SDR display. See View HDR video and Wide-gamut HDR tips. High-resolution video scopes reflect HDR brightness levels as you edit. See Waveform monitor display options. GPU selection options Choose which GPU to use when rendering or sharing. See Playback preferences. Masking improvements View the color contents of a color or shape mask in the viewer. See Ways to view masks. Select the range of color in a color mask with greater precision using HSL controls, which let you adjust hue, saturation, and luma values independently. See Edit a color mask. Support for fragmented MP4 format in HTTP live streaming Fragmented MP4 files are now an option for HTTP live streaming workflows. See Export live-streaming files and HTTP Live Streaming destination. What’s new in Final Cut Pro 10.4.6 Final Cut Pro 10.4.6 introduces new features and enhancements, detailed below. Detect and convert incompatible media Some media formats will not be compatible with versions of macOS after macOS Mojave. Final Cut Pro 10.4.6 automatically scans your libraries for incompatible media files and allows you to easily convert them to a compatible format. What’s new in Final Cut Pro 10.4.4 Final Cut Pro 10.4.4 introduces new features and enhancements, detailed below. Workflow extensions Extend the capabilities of Final Cut Pro with powerful third-party apps that are integrated directly into the interface. See Use workflow extensions and Import using workflow extensions. Final Cut Pro User Guide 10 Batch share Export multiple clips or projects in one step. See Batch sharing. Video noise reduction Remove video noise from your video clips using high-quality noise reduction. See Reduce video noise. Timecode window View source and project timecode in a resizable floating window. See View source and project timecode. Comparison viewer With the comparison viewer, compare any two frames of video side by side, and save up to 30 images for future comparisons. See Compare two video frames and Compare color corrections. Captions enhancements In addition to the CEA-608 and iTT caption formats, you can now add SRT captions to your projects for translation, closed-captioning, and more. When exporting, you can now burn in captions so they’re permanently visible in your output media files. See Intro to captions and Captions workflow. Tiny planet effect Use the Tiny Planet setting to create the effect of a tiny planet (or an inverted tiny planet) from a 360° clip. See Add the Tiny Planet effect. Enhanced selection of secondary storylines Easily select one or more secondary storylines (or clips within storylines) by dragging. See Select and move storylines. What’s new in Final Cut Pro 10.4.1 Final Cut Pro 10.4.1 introduces new features and enhancements, detailed below. Captions You can now add captions to your projects for translation, closed-captioning, and more. You can create captions in the CEA-608 and iTT caption formats. See Intro to captions and Captions workflow. Final Cut Pro User Guide 11 Enhanced share options • You now have enhanced control over including and excluding roles in output media files. See Turn roles on or off. • You can export captions as separate files along with an output media file or embed them in the output media file. You can also send captions to Compressor in a standard batch or as an iTunes Store package. See Export captions and Share using Compressor. What’s new in Final Cut Pro 10.4 Final Cut Pro 10.4 introduces new features and enhancements, detailed below. 360 VR editing • Create and deliver immersive 360° video with titles, effects, and live output to a VR headset. See Intro to 360-degree video. • Apply 360°-compatible titles, effects, and generators to 360° clips and projects without creating seams, unwanted distortions, or other artifacts. See Add 360-degree video effects and Add 360-degree titles and generators. Advanced color correction • Color grade with powerful new color wheels, color curves, and hue and saturation curves. See Intro to color correction effects. • Use built-in camera LUTs to automatically process log footage and preserve its full dynamic range. Apply looks with custom LUTs to suit your creative needs. See Apply color lookup tables (LUTs). • Animate your color corrections using keyframes. See Keyframe color corrections. • Correct a clip’s white balance. See Manually white-balance clips. High-dynamic-range video • Edit, grade, and deliver high-dynamic-range (HDR) video with live output to an HDR monitor. See Intro to wide color gamut and HDR and Configure library and project settings for wide gamut HDR. • Export HDR files suitable for certain HDR televisions and displays. See Export HDR files. Import projects created in iMovie for iOS or iPadOS Start your project with iMovie on an iOS or iPadOS device, then send it directly to Final Cut Pro to finish editing. See Import from iMovie for iOS or iPadOS. Final Cut Pro User Guide 12 More video and audio formats The following formats are now supported in Final Cut Pro when using macOS High Sierra 10.13: • HEVC (High Efficiency Video Coding), also known as H.265, a video compression standard • HEIF (High Efficiency Image File Format), a file format for still images and image sequences • RF64, an extension to the WAV file format that allows for files larger than 4 GB See Supported media formats and Supported export formats. Other notable features • Effects plug-ins from Logic Pro have redesigned, resizable interfaces. For more information, see Add audio effects and Final Cut Pro Logic Effects. • You can now save a library to an NFS volume and use it as if it were on a local storage device. See Create a new library. • Final Cut Pro 10.4 supports XML 1.7 for new color grading controls, 360 VR effects, and HDR. See Use XML to transfer projects. What’s new in Final Cut Pro 10.3 Final Cut Pro 10.3 introduces new features and enhancements, detailed below. New interface • A redesigned modern interface puts the focus on your video. See Final Cut Pro interface. • Configure custom workspaces for tasks like organizing and color grading. Fill a second display with the timeline (or hide the timeline completely). Expand the inspector to fullscreen height. See Arrange the main window, Change the workspace layout, and Use a second display. Enhanced roles support and Magnetic Timeline 2 • Color coding of clips based on roles—Dialogue, Music, and Effects—lets you understand your project at a glance. Enhanced roles support lets you create and manage a unique set of roles for each Final Cut Pro library. See Intro to roles. • You can create and assign roles to identify different types of audio and video clips, and you can customize the colors of roles. See View and reassign roles, Create custom roles, and Change role colors or names. • An enhanced timeline index lets you drag audio roles to rearrange the layout of the timeline. See Reorder audio roles. • You can use the Focus button in the timeline index to highlight specific audio roles and collapse all others. See Focus the timeline on a role. Final Cut Pro User Guide 13 • The Show Audio Lanes button in the timeline index displays a structured timeline layout with dedicated lanes for each audio role. The Show Subroles button expands the view down to the component level. See Organize the timeline with audio lanes and View and edit components in audio lanes. • You can now add audio effects and keyframe audio volume changes for an entire role within a compound clip. See Work with audio roles in compound clips. • iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder. See Create custom roles automatically during import using iXML metadata. Wider color gamut • Video shot in wide-gamut color space can now be viewed in wider color gamut on supported Mac computers and external displays. See Intro to wide color gamut and HDR. • You can now import, edit, and deliver video in Standard (Rec. 601 and Rec. 709) color spaces or in Wide Gamut (Rec. 2020) color space. You can configure color space settings for both libraries and projects. See Use wide-gamut HDR color processing. • Log footage from ARRI, Blackmagic Design, Canon, Panasonic, and Sony cameras, as well as RED RAW footage, can be manipulated in real time to preserve wider color gamut. See Apply LUTs and Import REDCODE RAW files. • The range check overlay in the viewer highlights areas out of the standard RGB range. Video scopes accurately display wider color gamut in real time. See Detect out-ofgamut colors and Intro to measuring video. Support for the Touch Bar on MacBook Pro • Tap to perform common tasks such as adjusting volume, creating fade-ins and fade-outs, and importing media. • Easily access advanced editing commands, including Override Clip Connections, Trim to Playhead, Trim to Start, and Trim to End. • View your entire project at a glance and navigate with touch in the timeline overview. More video formats • MXF-wrapped Apple ProRes provides a flexible new standard for broadcast delivery. • MXF file export uses audio roles to configure industry-standard channel layouts. See Export MXF files. • The following formats are now supported: • Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras • Panasonic AVC-Intra LT playback • Export of AVC-Intra files See Supported media formats and Supported export formats. Final Cut Pro User Guide 14 Other notable features • The Remove Effects and Remove Attributes commands let you delete specific effects from clips. See Remove or turn off effects and Remove built-in effects. • SMB 3 network support allows you to access libraries on network-attached storage devices. See Create a new library. • You can consolidate custom Motion projects into individual Final Cut Pro libraries. This includes effects, transitions, titles, or generators created or customized in Motion. See Manage Motion content, Set storage locations, and Consolidate projects and libraries. • Larger media and content browsers let you view photo libraries, sound effects, music, titles, and generators at a glance. For example, you can access music and sound effects in the Photos and Audio sidebar and then select ranges of audio clips in the browser. See Import from Photos, Add music and sound, Add titles, and Intro to generators. • New XML support lets you update clips, projects, and events by dragging them directly between Final Cut Pro and supported apps. See Use XML to transfer projects. • You can now set continuous playback of clips in the browser. See Play back video and audio clips. • You can apply fades to one or more audio clips using the Modify menu. See Apply fades using the Modify menu. • You can now roll adjacent audio components. See Example: Perform a roll edit on adjacent audio components. • You can copy and paste timecode to speed up timeline navigation and numerical entry from text documents and spreadsheets. See Navigate using timecode. • You can search the timeline index for auditions, compound clips, multicam clips, and synced clips. • New effects, transitions, and generators: The Timecode effect displays the clip name and source clip timecode in the viewer and in exported files. The Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews. The new Broadcast Safe filter supports both standard and wide-gamut color spaces in SDR (standard dynamic range) video media. For information about adding effects and transitions to your projects, see Add video effects and Add transitions. What’s new in Final Cut Pro 10.2 Final Cut Pro 10.2 introduces new features and enhancements, detailed below. 3D titles Final Cut Pro 10.2 introduces 3D titles with intuitive controls for look, lighting, and animation. See Intro to 3D titles. • Access a large collection of text styles to create stunning looks with one click. See Add 3D titles. • Use simple surface material presets and lighting presets to get started quickly. See Intro to materials and Intro to 3D text lighting. • Customize your titles with hundreds of combinations of text styles, materials, lighting, and edges. Final Cut Pro User Guide 15 • Instantly convert any 2D title to 3D. See Convert text to 3D text. • Open any title in Motion to add multiple lights, cameras, and tracking. See Modify titles in Motion. Advanced effects Final Cut Pro 10.2 offers powerful new tools for creating visual effects and superb video quality in your projects. • Use the flexible Shape Mask and Draw Mask effects to create areas of transparency in your video clips. The Draw Mask effect lets you create complex custom masks and provides options for linear, Bezier, or B-Spline smoothing. See Intro to masking and Create complex masks. • Define the shape of video effects and color corrections using the shape mask and color mask controls built into almost every video effect. You can instantly display the alpha channel for any effect mask. See Intro to effect masking. • Create and save custom video and audio effects as presets for quick access. See Save video effects presets and Save audio effects presets. • Take advantage of the flexible color correction workflow, which allows you to add and rearrange instances of the new Color Correction effect just as you would any other clip effect. See Intro to color correction. • Display up to four video scopes simultaneously. See Display video scopes. • Create beautiful slow motion on a wider range of content with improved optical flow. See “Smooth out a slow-motion clip with video quality presets” in Change clip speed. Camera formats Final Cut Pro 10.2 adds support for the following formats. For a complete list, see Supported media formats. • Panasonic AVC-Ultra codec family • Sony XAVC-S • JVC H.264 Long GOP • GPU-accelerated RED RAW processing with support for dual GPUs • RED RAW anamorphic formats Additionally, you can now import Sony XAVC and XDCAM formats without a separate plug-in. Other notable features • The Media Import window now contains all options in a single sidebar. See Intro to importing media. • You can create Smart Collections across entire libraries. See Create Smart Collections and Organize Smart Collections. • Final Cut Pro 10.2 supports XML 1.5. See Use XML to transfer projects. • When you export a project using Compressor, the process now employs GPU rendering. Final Cut Pro User Guide 16 What’s new in Final Cut Pro 10.1.2 Final Cut Pro 10.1.2 introduces new features and enhancements, detailed below. Media management improvements New features provide you with more flexibility and control over media management. • Store optimized, proxy, and rendered media outside the library, at the location you choose. • Easily delete optimized, proxy, and render files from within Final Cut Pro. • View and set storage locations for media, cache files, and library backup files using the Library Properties inspector. For more information, see Set storage locations, Create optimized and proxy files, and Manage render files. Organization enhancements Final Cut Pro 10.1.2 provides streamlined organizing tools. • You now have the option to show only unused media in the browser. • Used-media indicators now work with compound clips, multicam clips, and synced clips. • You can now sort events in the Libraries sidebar by date or name. For more information, see Find clips and projects, Lines marking event clips, and Merge and split events. Support for wide-dynamic-range imagery from professional 4K cameras • The new Apple ProRes 4444 XQ codec is the highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail from today’s highest-quality digital image sensors. See Supported media formats and Supported export formats. • You can apply a standard broadcast color space (Rec. 709) look in real time to highdynamic-range and wide-color-gamut video shot on ARRI, Blackmagic Design, Canon, and Sony cameras. See Apply LUTs. Audio workflow improvements Speed up your audio workflow with these enhancements: • You can now adjust the relative or absolute volume of a clip or range selection by entering a specific dB value. See Adjust volume. • Final Cut Pro 10.1.2 provides improved speed and accuracy when syncing clips. See Sync audio and video. Final Cut Pro User Guide 17 • New live audio recording features include an automatic countdown and automatic grouping of multiple takes into auditions. See Record voiceovers. • The new Basic Surround preset simplifies panning for surround sound audio. See Pan audio. Import and export features • Import and export entire libraries as single XML files using XML 1.4. See Use XML to transfer projects. • Create keywords from Finder tags when you import media from a storage device. See Import from your Mac or storage device and Organize files during import. • Quickly export cuts-only projects containing XDCAM media. Other notable features • You can now import media by dragging it from the Finder to the browser (rather than to the event in the Libraries sidebar). See Import from your Mac or storage device. • Nudging a clip in the timeline now works like a slide edit. See Arrange clips in the timeline. • You can now break apart an audition. See Create auditions. What’s new in Final Cut Pro 10.1 Final Cut Pro 10.1 introduces numerous new features and enhancements, detailed below. Performance and Mac Pro optimizations Final Cut Pro 10.1 brings the following performance improvements: • Optimization to take advantage of multiple GPUs in the new Mac Pro • HDMI and Thunderbolt output at frame sizes up to 4K (UltraHD and DCI 4K) • Better playback and rendering performance, plus faster opening of the app and projects • Improved performance when modifying or keywording large numbers of clips at the same time • Selected titles, effects, and other media content scaled for 4K projects Project and media management Project and media management tools have been enhanced to deliver: • Improved media management with the introduction of libraries, a new way to organize multiple events and multiple projects in a single container • Project snapshots: on-demand backups that allow you to quickly return to an earlier version of a particular project • Media file storage at locations outside the Final Cut Pro library, making your media accessible in specific folders on a wide range of SANs • Direct import of MTS/M2TS files into Final Cut Pro Final Cut Pro User Guide 18 • Used-clip-range indicators that show you at a glance which clips are already in a project • Direct import of photos from iOS and iPadOS devices using the Media Import window • Support for portrait/landscape metadata in still images For more information, see Intro to libraries, Intro to media management , and Intro to editing. Playback and effects Significant improvements in the Final Cut Pro playback interface and powerful new effects features will empower your workflow. • Improved retiming lets you set custom speeds more easily than ever—by typing frame rates directly in the interface. You can also create jump cuts at specific frames, replace and retime in one step, and retime clips without rippling the timeline. For more information, see Intro to retiming clips. • A new stabilization method called InertiaCam has been optimized to smooth video footage containing camera moves such as pans and zooms. Tripod Mode creates the effect of a static camera mounted on a tripod. See Correct shaky video. • An improved optical flow algorithm makes retiming and frame rate conform speedier than ever. In addition, for Mac computers with two GPUs, the optical flow algorithm now makes use of both GPUs, providing a more than 2x speed increase over a single GPU. • You can now create custom project resolutions for web video, digital signage, and other nonstandard frame sizes. See Modify a project’s settings. • New controls in the Viewer menu let you switch between better playback quality and better playback performance. You can also switch between proxy media and original or optimized media. See Control playback quality. • You can now view all pixels of a 2K frame on a MacBook Pro with Retina display. Editing Improved editing tools give you more creative flexibility than ever. • Through edits are now supported in all types of clips. The new Join Clips command removes cuts from bladed timeline clips. See Cut clips in two. • You can detach the audio portion of multicam clips in the timeline to manipulate audio and video separately. You can also make video-only or audio-only edits into the timeline with multicam clips as sources. • You can blade audio cuts in J- and L-cuts separately from the video. And you can now roll the audio in open split edits. • If no clips are selected in the timeline, a white dot now appears on the playhead to indicate the clip whose attributes are shown in the inspector. • Moving clips with transitions is now easier. For more information, see Intro to editing. Final Cut Pro User Guide 19 Share When it’s time to export your project, you can use several new share options: • Share videos directly to the Chinese video-sharing websites Youku and Tudou. • Receive notifications on the status of items you shared. For more information, see Intro to sharing projects. Audio Audio fade handles have been added to individual audio channels in the timeline. For more information, see Fade audio in and out. Third-party support Final Cut Pro 10.1 also features several new third-party support options: • Developers can use a new API for customizing share operations. • FXPlug 3 has been updated to include the ability to design custom effects interfaces. • Effect parameters, fonts, and text size information are now preserved in XML files. General You can now hide the browser to free up more screen area for color grading and other operations that are easier with larger video images. What’s new in Final Cut Pro 10.0.6 Final Cut Pro 10.0.6 includes numerous new features and enhancements, detailed below. Advanced multichannel audio editing Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. You can now expand the audio portion of clips to view and edit audio components down to the individual channel level. You can edit audio components in a variety of ways, including any of the following: • Adjust volume or pan. • Disable or delete ranges within an audio component to quickly edit out unwanted sounds. • Apply and adjust audio effects. • Enable or disable audio components in a multicam clip. For more information, see Intro to audio editing. Final Cut Pro User Guide 20 Streamlined sharing and export Sharing your finished work is easier and more flexible in Final Cut Pro 10.0.6. Destinations— sets of preconfigured export settings—allow you to quickly publish a project or clip to a sharing website, export it for viewing on iPad or iPhone, or burn it to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. The simplified and streamlined sharing workflow includes these enhancements: • Simplified and consolidated menus that you can easily populate with customized destinations • Reusable destination bundles that allow you to share to multiple output formats and locations at once • Automatic sharing of project and clip metadata, with the ability to customize the metadata that is shared • Support for multiple accounts at video-sharing websites such as YouTube • Faster sharing and export using the GPU and background processing • Ability to share a selected range in a project in the timeline or in a clip in the browser For more information, see Intro to sharing projects. Unified import Simplified and easier to use, the new unified Media Import window provides one place to go for all your importing needs. Final Cut Pro 10.0.6 offers dedicated areas for connected cameras and devices, both file-based and tape-based, as well as a new Favorites section, where you can add frequently used folders for file import from your Mac or an external storage device. Other new import features include list view to see multiple columns of metadata, multiple range selections within individual clips from file-based cameras, and complete archive-management tools. For more information, see Intro to importing media. Dual viewers The event viewer is a separate video display that appears next to the main viewer so you can compare shots to match action and color. With the event viewer and the viewer open, you can display two clips at the same time: one from the browser and one from the timeline, each with its own video scopes display. For more information, see Play media in the event viewer. Native REDCODE RAW (R3D) support Final Cut Pro 10.0.6 provides native support for REDCODE RAW (R3D) files. You can now import RED files directly, make nondestructive RAW settings adjustments, and save those adjustments as metadata, all within Final Cut Pro. This allows you to take advantage of the full latitude and dynamic range contained in the REDCODE RAW source files. For more information, see Import REDCODE RAW files. Final Cut Pro User Guide 21 Improved range selections Start and end points in clips in the browser now stay in place when you click elsewhere. You can also create multiple range selections in one or more clips. For more information, see Select ranges and Set multiple ranges in the browser. Other notable features • With chapter markers and chapter marker thumbnails, you can prepare chapters and their representative poster frame images directly within Final Cut Pro for output to DVD, Blu-ray disc, QuickTime Player, and Apple devices. See Add chapter markers. • The new Paste Attributes window is a powerful way to transfer specific effects and other settings between clips. • You can now add freeze frames quickly and easily with a single keyboard shortcut. • Titling is significantly improved, including support for the new title markers feature in Motion. • Flexible connection points improve manual control over connected clips as you slip, slide, or move clips in the primary storyline. See Connect clips. • New compound clip architecture makes compound clips easier to reuse in multiple projects and provides improved performance. • You can now import and export MXF files using third-party plug-ins. For a list of supported media files, see Supported media formats. • Final Cut Pro 10.0.6 provides improved support for anamorphic media. See Conform frame sizes and rates. What’s new in Final Cut Pro 10.0.3 Final Cut Pro 10.0.3 includes major new features and enhancements, detailed below. Multicam editing You can now use multicam clips to edit footage from multicamera shoots or other synced footage in real time. Working with multicam clips in Final Cut Pro is a flexible and fluid process. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. You can create multicam clips from diverse media sources and modify existing multicam clips during the editing process. For more information, see Intro to multicam editing. A/V output You can now connect your Mac to an external video monitor for audio and video (A/V) output. In addition to showing how video and audio look and sound on an NTSC/PAL or HD broadcast monitor, this allows you to test output with more sophisticated devices such as vectorscopes and waveform monitors. Final Cut Pro User Guide 22 A/V output is available only with OS X Lion 10.7.2 or later and requires compatible thirdparty video interface hardware and software. FireWire DV devices are not supported. For more information, contact the device manufacturer or go to the Final Cut Pro Resources webpage. For more information, see Play media on an external display. Manual relinking of clips to media files Now you can manually relink event clips and project clips to media files. Manual relinking gives you more control over your post-production workflow. For more information, see Relink clips to media files. Other notable features • Layered graphics files, such as Adobe Photoshop (PSD) files, can now be edited so that each layer appears as a connected clip in the timeline. See Edit layered graphics files. • Advanced Keyer controls are now available. See Use chroma keys. • Keyframing controls are improved in the Video and Audio Animation editors. See Intro to video keyframing. What’s new in Final Cut Pro 10.0.1 Final Cut Pro 10.0.1 includes a number of new features, enhancements, and changes. The most significant features are introduced below. Roles You can use the new roles metadata labels to organize clips in your events and projects, control the appearance of the timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. For example, you can export roles as media stems in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Intro to roles and Intro to Destinations preferences. Storage area network (SAN) locations You can now add network volumes as storage locations for events and projects. When you remove SAN locations in Final Cut Pro, other users on the network can work with the events and projects stored on those locations. XML export and import Final Cut Pro now supports XML import and export so that you can transfer your project and event information to and from systems and third-party applications that don’t recognize Final Cut Pro projects and events. For more information, see Use XML to transfer projects. Final Cut Pro User Guide 23 Final Cut Pro basics What is Final Cut Pro? Final Cut Pro is a revolutionary app for creating, editing, and producing the highest-quality video. Edit everything • Import and edit everything from standard-definition to 8K video—including ProRes, ProRes RAW, and all major professional camera formats. • Import and edit immersive 360° video with 360° titles, graphics, and effects, as well as VR headset playback. • Play and skim high-definition media in up to 8K resolution (and beyond), in full screen or on a second display. • Edit and color correct vibrant high-dynamic-range (HDR) video using your Pro Display XDR as a professional HDR reference monitor. Or apply Final Cut Pro tone mapping to see your HDR content on a Mac display. Use high-resolution video scopes to gauge HDR brightness levels as you edit. Final Cut Pro User Guide 24 Work faster, smarter • Assemble clips in the Magnetic Timeline, which fluidly adjusts adjacent clips to eliminate gaps, collisions, and sync problems. • Ripple, roll, slip, and slide your edits using state-of-the-art trimming tools, then fine-tune your cuts with the inline precision editor. • Connect clips to lock cutaway shots, superimposed titles, and sound effects to your main storyline, or nest clips within other clips. • Edit multicamera footage, automatically syncing up to 64 angles of video with different formats, frame sizes, and frame rates. View up to 16 angles at once, then use the angle editor to move, sync, trim, add effects, or color grade individual clips in the timeline. Get organized • Declutter your workflow by organizing your media clips: Rate them, add keywords, or bundle them into Smart Collections. • Let Final Cut Prodetect people and shot types and then automatically assign keywords like “One Person” or “Wide Shot.” • With a single click, arrange sound clips into separate audio lanes in the timeline for dialogue, voiceover tracks, music, and more. Make every effect special • Add stunning visual effects using any of more than 300 built-in special effects, transitions, and generators, then adjust them with precision keyframes and onscreen controls. • Retime clips to create cinematic fast-motion, slow-motion, and variable-speed effects. • Reduce or eliminate grain and video noise with easy-to-use noise-reduction tools. • Create studio-quality 2D and 3D titles and set them in motion, without leaving Final Cut Pro. • Track moving objects in clips to match their movement with an effect, graphic, or title. • Import clips recorded in Cinematic mode on iPhone into Final Cut Pro, then use onscreen controls to adjust the focus. • Add closed captions in a variety of formats, without the need for expensive third-party software or services. • Create stunning effects and sweeping graphics in Motion—Apple’s professional imaging effects app—then open and adjust them in Final Cut Pro. • Add pro audio effects with dozens of plug-ins for audio compression, EQ, and more—or send your soundscape to a professional audio application like Apple’s Logic Pro for advanced mixing. • Let Final Cut Pro analyze your video and nondestructively fix common problems like excess hum or loudness. Correct shaky video using the Final Cut Pro stabilization feature. Final Cut Pro User Guide 25 Perfect your pixels with advanced color grading • Automatically balance colors, match colors, and white-balance clips… • …Or go manual and use the professional color-grading tools built into Final Cut Pro, including a dedicated color inspector with color wheels, color curves, hue/saturation curves, and keyframes to adjust corrections over time. Export and share everywhere • Send your finished project to Compressor for streamlined delivery to the iTunes Store. And because Final Cut Pro, Motion, and Compressor all share the same Metal architecture, you’ll experience blazing performance and consistent rendering across applications. • Optimize your project for viewing on Apple devices such as iPad, iPhone, and Apple TV. • Export files in a variety of professional formats, including industry-standard MXF. • Use batch sharing to export multiple projects, clips, or clip ranges at the same time. Note: For a complete list of topics covered in this user guide, click Table of Contents at the top of the page. What are libraries in Final Cut Pro? In Final Cut Pro 10.1 or later, you organize your work in libraries. A library can contain multiple events and projects in the same location. The first time you open Final Cut Pro, it creates a library file in the Movies folder. When you create a new project or event, it’s automatically included in the active library. The library tracks all your media files, your editing decisions, and the associated metadata. You can have multiple libraries open at the same time, and you can easily copy events and projects between libraries. This makes it simple and quick to move media, metadata, and creative work to another system for mobile work, work with multiple editors, or archiving. You can open and close libraries as needed. The following concepts are important to understand when you work with libraries. Final Cut Pro User Guide 26 Managed and external media Media that you import into a specific library is stored inside the library and is referred to as managed media. Media can also be imported or copied to any location on a connected storage device and linked to the library as external media. Multiple users can access this external media instantly on shared storage. Managed media can be made external at any time if you want to share access, and external media can be collected as managed media inside the library for easy transport or archiving. See Consolidate projects and libraries. Generated media Render files, optimized files, proxy files, and analysis files are all considered generated media because the system creates them in the background after the original media has been imported. You can store generated media inside your Final Cut Pro library or in an external location you define. For example, to organize media in a large facility more efficiently, you can put generated media on a SAN or on a storage device outside the library. See Set storage locations. To reduce a library’s size, and to move, copy, or archive a library more quickly, you can delete all the generated media (proxy, optimized, or render files) in one step. See Create optimized and proxy files and Manage render files. Note: By default, copying a project between libraries does not copy the associated proxy, optimized, or render files because these files can be quickly regenerated. However, you can choose to include proxy or optimized media when you copy a project to another library. Final Cut Pro workflow The overall process for putting together a movie with Final Cut Pro is described below. You don’t have to do every step, and you might do others that aren’t listed. The workflow isn’t necessarily linear. You could, for example, go all the way through editing and adding effects, and then import more new media for your project. Step 1: Import your media into Final Cut Pro To use Final Cut Pro, you need to transfer your media (video, audio, and still images) from your recording device to your Mac or an external storage device. You can import media from many kinds of cameras and other devices, or from other apps such as Photos or iMovie. Step 2: Organize your media Final Cut Pro automatically organizes your imported media into events. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images, as well as projects. In Final Cut Pro, your media appears as clips, which link to the media files on your Mac or storage device. You can reorganize your clips by creating or renaming events and moving clips between events. For example, you could create an event for all the media shot for a specific client. Final Cut Pro User Guide 27 As you review your footage, you can easily rate clips as favorite or rejected. These ratings make it easier to focus on your best footage. Final Cut Pro also offers other useful organizing tools, such as Keyword Collections, Smart Collections, and roles. Step 3: Create a project and add clips to it Your project is the movie you create using clips from your events and from the collections of media (such as titles and sound effects) that come with Final Cut Pro. Start creating your movie by adding clips to the timeline. You make all your edits in the project; your original media files remain untouched (this is known as nondestructive editing). Step 4: Arrange and edit your clips Now your movie can really begin to take shape. To assemble a rough cut, rearrange and trim clips in the timeline. You can also try out different clips using auditions. Use connected clips and storylines to add cutaway shots, titles, background music, and sound effects to your project. Create compound clips to group any combination of clips and nest clips within other clips. For example, you can simplify a complicated project by creating a separate compound clip for each major section. Step 5: Add effects and transitions Add special effects from the ample collection of video and audio effects in Final Cut Pro. Give your movie titles and credits, and apply video or audio transitions. Adjust clip speed settings to create fast-motion or slow-motion effects. To further polish your project, you can fine-tune cuts and transitions with the precision editor, keyframe video and audio effects, correct color, and composite motion graphics. Step 6: Share your movie When your project is finished, you can publish your movie to the web right from Final Cut Pro, or send it to iPhone, iPad, iPod, or Apple TV. You can also burn a disc to give to others. For advanced projects, you can export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. Final Cut Pro User Guide 28 Final Cut Pro interface Here are the main areas of the Final Cut Pro window: Organize media in the Libraries sidebar and the browser Your imported media is available in events in your library. (An event is like a folder that contains clips and projects.) When you select an event in a library, its clips and projects appear in the browser on the right. Final Cut Pro User Guide 29 You can reorganize your media however you like, and you can use the Libraries sidebar and the browser to manage, rate, sort, and add keywords to your imported media. See Intro to libraries. Play back clips and projects in the viewer The viewer is where you play back your video, including clips and projects with 6K resolution and above. You can play back events, projects, or individual clips in full-screen view or on a second display. With the event viewer, a separate video display that can be shown next to the main viewer, you can display two clips at the same time: one from the browser and one from the timeline. For information about ways to play media, see Play media. You can also use onscreen controls, superimposed over the video in the viewer, to adjust settings for a wide array of effects and transitions. Edit your project in the Magnetic Timeline The bottom portion of the Final Cut Pro window contains the timeline, where you create your movie by adding and arranging clips and making all your edits. The timeline “magnetically” adjusts clips to fit around clips that you drag into place. If you drag clips out of place, the surrounding clips close up to fill the space. Final Cut Pro User Guide 30 A project holds all of the information for your final movie, including your editing decisions and links to all the source clips and events. See Intro to adding clips and Arrange clips in the timeline. With a click, you can arrange clips into audio lanes (separate, visually distinct layers in the timeline), based on their role assignments. Roles identify the type of clip, so each audio lane contains one type of audio. For example, one audio lane might contain music clips, and another might contain sound effects. This view organizes clips visually and provides reference points that make editing easier and more efficient. See Intro to roles and Organize the timeline with audio lanes. Media files and clips in Final Cut Pro After you import media into events in your Final Cut Pro library, clips representing the source media files appear in the browser. A large event may hold many clips. Media files are the raw materials you use to create your project. A media file is a video, audio, still-image, or graphics file on your Mac or storage device that contains footage transferred from a camcorder or recording device or created on a computer. Media files can contain multiple video and audio components. Because media files—especially video files—tend to be quite large, projects that use a lot of footage require one or more highcapacity storage devices. Final Cut Pro User Guide 31 Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your Mac or storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in the project. This is known as nondestructive editing, because the changes you make to clips in Final Cut Pro never affect the media itself. Trimmed or deleted pieces of clips are removed from your project only, not from the clips in your library or the source media files on your Mac or storage device. Final Cut Pro User Guide 32 Import and analyze media Intro to importing media in Final Cut Pro Importing media into Final Cut Pro is the first step toward making your movie. With Final Cut Pro, you can: • Import from file-based cameras • Import from iPhone, iPad, or iPod touch • Import from a tape-based camcorder or device • Import from iMovie • Import from Photos • Import from Music • Import from your Mac or storage device • Import from a camera archive During import, you assign your media to an event. You can also transcode your media and analyze your media for a variety of issues, such as color balance, the presence of people and shot type, and audio problems. Final Cut Pro User Guide 33 When you import clips (video, audio, or still images), Final Cut Pro assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. You can also override this automatic role assignment. See View and reassign roles and Assign audio roles during import. If you want to quickly back up your media (instead of taking the time to import it), you can create an archive. If it’s your first import into Final Cut Pro The first time you open Final Cut Pro, it contains no media and one library containing a single event. You can import media into the event from your Mac, a storage device, or a connected camera. 1. In the Final Cut Pro main window, click Import Media. 2. Follow the instructions for importing files from a file-based camera, from your Mac or storage device, or from iPhone or iPad. For more ways to import media, see Intro to importing media. To start editing, create a new project. Import from connected cameras Import into Final Cut Pro from file-based cameras File-based camcorders and cameras can record video, audio, and still images. These kinds of devices, which record to flash-based storage media, hard drives, and so on, usually connect to your Mac through a Thunderbolt or USB cable. Some devices have removable memory cards that you can insert into your computer instead. If your file-based device provides a clip-spanning feature (which allows a single clip to be recorded across multiple memory cards), you can import all of the media as one spanned clip. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. Final Cut Pro User Guide 34 Import from a file-based camcorder, camera, or device 1. Do one of the following: • Connect your camcorder, camera, or device to your Mac using the cable that came with the device, and turn on the device. If you’re using a camcorder, set it to PC Connect mode. (The name of this transfer mode may be different on your device.) Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player app to open. If that happens, simply close DVD Player. • Remove the memory card from your camcorder or device and insert it into the card slot on your Mac (if it has one) or into an external card reader. See Memory cards and cables. Note: Some cameras require that you download and install an additional software plugin. See the documentation that came with your camera. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. If necessary, select your camcorder, camera, or device from the Cameras section on the left. Final Cut Pro User Guide 35 The Media Import window displays the media on your device. You can play back your media using the playback controls or skim it by moving the pointer forward or backward over a filmstrip. Note: By default, the Media Import window is set to show only video clips. If you want to display just photos, or video clips and photos, use the pop-up menu in the middle-right area of the window. 4. Do any of the following: • Change which device to import from: Click the device in the Cameras section. • Change the way the clips appear: Click the Clip Appearance button in the bottomright corner of the Media Import window. • Switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window (connected file-based cameras and camera archives only). Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the browser. You can skim to any frame in the filmstrip and set start and end points. • Sort clips in list view by data such as duration, creation date, rating, keyword, and file type: Click the column headings at the top of list view. Control-click column headings to add additional columns. For more information about list view, see Import from your Mac or storage device. • Add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. Final Cut Pro User Guide 36 • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. Do one of the following: • Import all clips: Click Import All. • Import only some of the clips: Select each clip you want to import by Commandclicking it, then click Import Selected (the Import button changes its name). Tip: To select several clips located together, drag a selection rectangle around the clips. • Import portions of clips: Drag inside the filmstrip to select the range that you want, then click Import Selected. You can also select multiple ranges in each clip. See Select ranges. Tip: You can also select a clip, press the Space bar to play the clip, and then press either I (to set a start point) or O (to set an end point). By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. The media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 8. When background tasks are completed, disconnect the camcorder, camera, or device. You can create an archive from your file-based or tape-based camera or device. See Create camera archives. Final Cut Pro User Guide 37 Reimport a clip Two situations warrant reimporting a clip: • If the clip was not completely imported: If you cancel or quit Final Cut Pro before an import is finished, a camera icon appears on the bottom-left corner of the clip, indicating that the media on the camera is being used for playback (instead of the QuickTime file that was created during import). To play a clip with a camera icon, Final Cut Pro locates the media either on a connected camera or in a connected, available camera archive. (See Import from an archive or disk image.) If the media can’t be found in one of those locations, the clip becomes offline and displays the Missing Camera alert icon. • If the clip’s source media file is not available: If a clip’s source media file is moved or deleted, or the volume it’s located on is disconnected from your Mac, a Missing File alert icon appears on the clip. To restore the clip, you can reimport it. See Alert icons. When you reimport a clip, Final Cut Pro automatically connects to the camera or camera archive. You don’t need to manually mount a camera archive before reimporting. 1. Do one of the following: • Connect the camera that contains the clip to your Mac, and turn on the camera. The clip is now online but still displays the camera icon in the lower-left corner. • Insert the memory card that contains the clip into your Mac or a connected card reader. See Memory cards and cables. • Make sure the camera archive that contains the clip is located in one of the Final Cut Pro camera archives. See Create camera archives. 2. In Final Cut Pro, do one of the following: • Reimport one clip: Select the clip in the browser. • Reimport all clips in an event: Select the event in the Libraries sidebar. 3. Choose File > Import > Reimport from Camera/Archive. Final Cut Pro User Guide 38 Import spanned clips into Final Cut Pro Some file-based camcorders or devices that have more than one memory card slot can record one shot over multiple memory cards. The resulting shot is called a spanned clip. A good way to import a spanned clip is to connect your camera or card reader to your Mac and create a camera archive for each memory card. You can store the camera archives on your Mac or on an external storage device until you’re ready to import the spanned clip. (Even if you’re importing the spanned clip immediately, it’s useful to make a camera archive so that you have a backup of the spanned clip’s footage.) When you’re ready to import, you can mount all of the camera archives and import the spanned clip. Create a camera archive for each memory card 1. Connect your camcorder or camera to your Mac and turn on the device, or connect your card reader and memory card to your Mac. If you’ll be saving the camera archives to an external storage device, connect that as well. Note: Some cameras require that you download and install an additional software plug-in. See the documentation that came with your camera. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Media Import window, select a memory card to archive from the list of cameras on the left. 4. Click the Create Archive button at the bottom-left corner of the window. 5. In the “Create Camera Archive as” field, type a name for the archive. 6. Click the Destination pop-up menu, choose a location to save the archive, then click OK. Note: To protect your media, it’s recommended that you save your archive to a storage device or partition different from the one where you store the media files used with Final Cut Pro. 7. To create camera archives for each of the memory cards that contain a portion of the spanned clip, repeat steps 3 through 6. Import a spanned clip 1. If the media you want to import is on an external storage device or a memory card, connect the device to your Mac and turn on the device. Final Cut Pro User Guide 39 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Devices section on the left side of the Media Import window, select the storage device (internal or external) or memory card that contains the spanned clip camera archives. 4. Use list view at the bottom of the window to navigate to and open the camera archives. Important: If the camera archives that make up the spanned clip are not all available, you can import each camera archive separately. Each portion of the spanned clip is imported as a separate clip. If all portions of the spanned clip are available, all the mounted camera archives show a clip with the same duration. An icon indicating that the spanned clip is complete appears on the spanned clip. If one or more camera archives are missing, an icon appears on the spanned clip to indicate which part of the spanned clip is available—the beginning, middle, or end. You can select each camera archive to see the different icons. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. Final Cut Pro User Guide 40 To learn more about events, see Intro to libraries. If you want to import media int o a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. To import the spanned clip, click Import All. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. The media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. Import into Final Cut Pro from iPhone, iPad, or iPod touch Importing media from iPhone, iPad, or iPod touch is the same as importing media from a file-based camcorder, camera, or device. Note: If you’re importing from an iOS or iPadOS device with iOS 11 or later and your footage was recorded with the High Efficiency camera setting, make sure you’re using macOS High Sierra 10.13 or later. See the Apple Support article Using HEIF or HEVC media on Apple devices. 1. Connect your iPhone, iPad, or iPod touch to your Mac using the cable that came with the device. If another app opens when you connect your device, close the app. 2. Turn on your device and unlock it. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. In the Media Import window, select your iPhone, iPad, or iPod touch from the Cameras section on the left. You can play back your media using the playback controls or skim it by moving the pointer forward or backward over a filmstrip. Final Cut Pro User Guide 41 You can also do any of the following: • Change which device to import from: Click the device in the Cameras section. • Change the way the clips appear: Click the Clip Appearance button in the bottomright corner of the Media Import window. • Switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window (connected file-based cameras and camera archives only). Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the Media Import window. You can skim to any frame in the filmstrip and set start and end points. • Sort clips in list view by data such as duration, creation date, rating, keyword, and file type: Click the column headings at the top of list view. Control-click column headings to add additional columns. For more information about list view, see Import from your Mac or storage device. • Add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. Note: By default, the Media Import window is set to show video clips only. If you want to display just photos, or video clips and photos, use the pop-up menu in the middle-right area of the window. Final Cut Pro User Guide 42 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. Do one of the following: • Import all clips: Click Import All. • Import only some of the clips: Select each clip you want to import by Commandclicking it, then click Import Selected (the Import button changes its name). Tip: To select several clips located together, drag a selection rectangle around the clips. • Import portions of clips: Drag inside the filmstrip to select the range that you want, then click Import Selected. You can also select multiple ranges in each clip. See Select ranges. Tip: You can also select a clip, press the Space bar to play the clip, and then press either I (to set a start point) or O (to set an end point). By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 8. When background tasks are completed, disconnect the iPhone, iPad, or iPod touch. Import into Final Cut Pro from digital still cameras You can import video and still images from digital still cameras. The steps below describe how to import video and still images directly into Final Cut Pro. You can also import your photos into a photos app and access them through the Photos and Audio sidebar in Final Cut Pro. Final Cut Pro User Guide 43 To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. 1. Connect your camera to your Mac using the cable that came with the camera, and turn on the camera. If your camera doesn’t appear on the left side of the Media Import window (in either the Cameras section or the Devices section), remove the camera’s memory card and insert it into the card slot on your Mac (if it has one) or into an external card reader. 2. In the Finder, locate the DCIM folder inside the camera folder, then locate the stillimage or video files. The files may be in the DCIM folder, or in a folder one or two levels down. Devices and file structures vary by model and manufacturer. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I), then follow the instructions in Import from your Mac or storage device. • Drag the files from the Finder into an event or timeline in Final Cut Pro. The files are imported using the settings you selected in Import preferences. See Import from your Mac or storage device. After the import, you may have separate audio files that you want to use to replace the video’s audio track. To do this, you can automatically sync the video and audio clips. Import into Final Cut Pro from tape-based cameras You can import media from a tape-based camcorder or device. To determine which clips you want to import (rather than importing all of them), you can view them using Final Cut Pro before you import them. Final Cut Pro supports tape-based import of the DV (including DVCAM, DVCPRO, and DVCPRO50), DVCPRO HD, and HDV formats. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. 1. Connect the camcorder to your Mac using the cable that came with the camcorder, and configure your device for remote control over FireWire, if necessary. If your computer does not have a FireWire port but does have a Thunderbolt port, you can connect the FireWire cable using an Apple Thunderbolt to FireWire Adapter or an Apple ThunderBolt Display (which also has a FireWire port). Note: For best results when importing from a tape-based camcorder, it’s recommended that you import the video using the same camcorder that you used to record it. 2. Turn on the camcorder and set it to VTR or VCR mode. This mode may have a different name on your camera. See the documentation that came with your camcorder. Final Cut Pro User Guide 44 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. If you have multiple devices connected to your computer, choose the device you want to import from in the list of cameras on the left side of the Media Import window. The Media Import window displays the image from the current position of the tape. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. Final Cut Pro User Guide 45 7. Use the playback controls (or use the J, K, and L keys) to set your tape to the point where you want to begin importing, then click Import. Importing begins immediately from the current location on the tape and continues until one of the following occurs: • The end of the tape is reached. • The storage device you’re importing to is full. • You stop the import session by clicking Stop Import or Close (to close the Media Import window) or by pressing Escape. The video plays as it’s being imported. It takes as long to import the video as it takes to watch it at normal speed. 8. When the section of video you want to import has been imported, click Stop Import (or press Escape). If you selected any options in step 6, the files are transcoded and optimized after the import is complete. You can view the progress of the background tasks in the Background Tasks window. 9. If you want to import another section of video, use the import controls to go to the point on the tape where you want to begin importing, then repeat steps 5 through 8. 10. When you’re done importing, click Close to close the Media Import window. You can also create an archive from your tape-based device, recording everything on the tape from beginning to end and saving the captured clips as an archive. See Create camera archives. If your camera isn’t recognized in Final Cut Pro If you’ve connected your camera or device to your computer but the Media Import window doesn’t open, or your device can’t be controlled from within Final Cut Pro, there are several things you can do to try to establish the connection. Check your equipment and system 1. Before importing media into Final Cut Pro, make sure that you’re using the correct equipment configuration: • Your camcorder or camera must be compatible with Final Cut Pro. For a list of compatible devices, see the Apple Support article Cameras supported by Final Cut Pro. • Your device must be properly connected to your computer. • Your camcorder must be set to the correct output mode. On some camcorders, this is called VTR or VCR mode, but not all camcorders use the same terminology, so check the documentation that came with your device. On some camcorders you must set the output to DV mode or HDV mode, depending on whether the content is standard (DV) or high definition (HDV). • If you’re connecting a tape-based camcorder to your computer, you should be using a FireWire cable (also called IEEE 1394, or i.LINK), not a USB cable. See Memory cards and cables. Final Cut Pro User Guide 46 • If you’re importing video clips from a still camera or other flash memory device, make sure the file format of your video is compatible with Final Cut Pro. See Supported media formats. • If your still camera is not supported by Final Cut Pro, try importing the media as files, using a card slot on your Mac or an external card reader. See Import from your Mac or storage device. See Import from your Mac or storage device. • If you’ve enabled Fast User Switching, make sure no one else is trying to use the camcorder from a different account at the same time. 2. If you still can’t import media after checking the items above, try the following: • Turn the device off and on again. • Disconnect the cable from both the device and your Mac, then reconnect it. • Quit and then reopen Final Cut Pro. • Restart your Mac. • Try using a different cable. • Try using a different computer with Final Cut Pro installed. • If you’re using a file-based camcorder, use the Finder to copy the mounted volume to a local disk. Then open the files in Final Cut Pro in the same way that you open an archive. Note: When you see red frames and a yellow alert triangle in the timeline or in an event, it means that part of your project or event is missing. See Alert icons. Import from devices Import into Final Cut Pro from your Mac or storage device You can import media—video, audio, still images, and graphics files—from your Mac, a connected external storage device, a memory card inserted in the card slot on your Mac or a card reader, or a network-attached volume. You can import media using the Media Import window or by dragging files from the Finder. When you drag media from the Finder into Final Cut Pro, the media is imported using the import settings in Final Cut Pro preferences. Importing files by dragging them into Final Cut Pro is a good option if you always want to use the same file storage, transcoding, keyword, and analysis settings. See Import preferences. Note: Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your Mac using the Finder. To import media copied in this way, see Import from an archive or disk image. Import media from your Mac or a storage device using the Media Import window 1. If the media you want to import is on an external storage device or a memory card, connect the device to your Mac and turn on the device. Final Cut Pro User Guide 47 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Devices section on the left side of the Media Import window, select your Mac or the connected external storage device or memory card from which you want to import media. 4. Use list view at the bottom of the window to navigate to a file or folder and select it. When you import from your Mac or a storage device, filmstrips are visible for individual selected clips only. Tip: Command-click to select multiple files or folders to import. 5. Do any of the following: • Preview the selected clip: Play it using the playback controls or skim it by moving the pointer forward or backward over the filmstrip. • Change which device to import from: Select the Mac or storage device in the Devices section, or select the location in the Favorites section. • Sort clips in list view by data such as duration, creation date, rating, and keyword: Click the column headings at the top of list view. Control-click column headings to add additional columns. Final Cut Pro User Guide 48 • Add folders of frequently used media to the Favorites section: Drag a folder from the list on the right to the Favorites section on the left. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. 6. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name for the event (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. 7. Choose a storage location for the media files: • Copy the files to the current library: Select “Copy to library” to duplicate the files and place the copies in the current library storage location. For information about setting the storage location for a library, see Set storage locations. Note: The name of this option changes to “Copy to library storage location: location name” when the current library is set to an external storage location. • Link to the files at their current location: Select “Leave files in place.” Note: If you select this option, Final Cut Pro creates symbolic links (also known as symlinks), which are special files that point to the media files. If you later copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. For more information about files and clips, see Media files and clips. 8. If you want to organize your media, override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes in the Keywords, Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. 9. When you’re ready to import, click Import Selected or Import All. The Import button changes its name based on your clip selection. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized when the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. If you imported media from an external device and you chose to have Final Cut Pro copy the media files to the library file (rather than just link to them in their original location), you can disconnect the device when the background tasks are completed. Final Cut Pro User Guide 49 Import media by dragging from the Finder 1. Open Final Cut Pro. 2. Do one of the following: • Select a file, Command-click to select multiple files, or select a folder of files, then drag the file or files from the Finder to the event. • Select a file, Command-click to select multiple files, or select a folder of files, then drag the file or files from the Finder to a Keyword Collection. The clip or clips appear in the event, and the keyword is automatically added to the clip or clips. Important: If you selected “From Finder tags” and “From folders” in the Keywords section of Final Cut Pro Import preferences, a Keyword Collection is created for each folder name and each tag, and the corresponding files are assigned that keyword. • Select a file or Command-click to select multiple files, then drag the file or files to a project in the timeline. The clip or clips appear in the timeline and in the corresponding event. The file or files are imported using your default import settings. See Import preferences. Import into Final Cut Pro from an archive or disk image If you’ve created a camera archive, you can use the media in the archive in two ways: • You can connect to the camera archive, making the media available to Final Cut Pro. • You can import the media from the archive, or import media from disk images previously archived with the Final Cut Pro Log and Transfer window in Final Cut Pro 7 or earlier. When you do this, copies of the media are created on your storage device. Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your Mac using the Finder. To import media copied in this way (or to import from disk images previously archived with the Final Cut Pro Log and Transfer window in Final Cut Pro 7 or earlier), follow the instructions in Import media from a disk image, below. Import media from a camera archive 1. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 2. In the Devices section on the left side of the Media Import window, select the storage device (internal or external) or memory card from which you want to import media, then use the list at the bottom of the window to navigate to the camera archive. The archive is connected to Final Cut Pro, and its media is displayed in the Media Import window. Final Cut Pro User Guide 50 3. Click the disclosure triangle to the left of the camera archive icon to reveal the list of clips in the archive, or double-click the camera archive to open it. 4. To import the media, see Import from file-based cameras. Import media from a disk image 1. In the Finder, double-click the disk image (.dmg) file to open it. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. Select the disk image in the Cameras section on the left side of the Media Import window. Note: If the disk image doesn’t have a file structure typical of a video camera, it appears in the Devices section instead. The open disk image is connected to Final Cut Pro, and its media is displayed in the Media Import window. 4. To import the media, see Import from file-based cameras. Organize files during import into Final Cut Pro You can choose how to organize your media when you import it into Final Cut Pro. You can copy the source files into the library or link to them at their current location. If your source files have Finder tags or the folders containing the files have meaningful names, you can choose to have the tags and folder names applied to the files as keywords during import. If your source footage contains shots of people, you can have Final Cut Pro analyze the footage during import and apply keywords for the number of people in each shot and the shot type. A Keyword Collection is created for each keyword added to your clips during import. Select a Keyword Collection in the Libraries sidebar to see all the clips with that keyword applied. 1. To import a file into Final Cut Pro, choose File > Import > Media, navigate to the file you want to import, select the file, then click Import. 2. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. Final Cut Pro User Guide 51 To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. 3. In the Files section, select a file storage option: • Copy to library: This option duplicates the media files and places the copies in the current library storage location. Note: The name of this option changes to “Copy to library storage location: location name” when the current library is set to an external storage location. For information about setting the library storage location, see Set storage locations. • Leave files in place: This option links to the source media files at their current location. If you import files with this option selected, Final Cut Pro creates symbolic links (also known as symlinks), which are special files that point to the media files without copying them. When you move, copy, or back up events and projects that use these files, only the symbolic links are moved or copied (not the source media files). If, after you move or copy your project or event, you want to replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. For more information about files and clips, see Media files and clips. 4. In the Keywords section, select any of the following options: • From Finder tags: Creates a keyword for each Finder tag in the files you’re importing. For each keyword, a Keyword Collection is also created. For more information about Finder tags, see macOS Help (click the desktop to make the Finder active, choose Help > macOS Help, then search for “tags”). • From folders: Creates a keyword for each folder name and applies the keyword to all the files in the folder during import. Additionally, a Keyword Collection is created for each keyword. • Find people: Analyzes video clips and still images for the number of people present and shot types. After analysis, any of the following keywords are added to the clip: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. For each keyword, a Keyword Collection is also created. The “Consolidate find people results” checkbox simplifies and summarizes all of the “find people” analysis keywords. If you’re analyzing to find people, it’s recommended that you also select the “Create Smart Collections after analysis” checkbox. See Intro to analyzing media. 5. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes in the Audio Roles, Transcoding, and Analyze sections. If you don’t specify that Final Cut Pro analyze your media during the import process, you can analyze it later in the browser. Final Cut Pro User Guide 52 6. Click Import Selected or Import All. The Import button changes its name based on your clip selection. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. Import from other apps Import into Final Cut Pro from iMovie for macOS You can send an iMovie for macOS project to Final Cut Pro. You initiate the process from within iMovie. The project file and the media used in the project are copied to your Final Cut Pro library. If you want to send an iMovie trailer project, you first need to convert it to a movie project. For information about sending an iMovie project to Final Cut Pro or converting a trailer project to a movie project, see the iMovie User Guide. Note: If you send a movie project from iMovie to Final Cut Pro and it contains a clip with the “Lower volume of other clips” audio adjustment, that adjustment appears in Final Cut Pro as the Gain filter. For information about adjusting audio effects in Final Cut Pro, see Adjust audio effects. Import into Final Cut Pro from iMovie for iOS or iPadOS You can import projects created in iMovie for iOS or iPadOS into Final Cut Pro. Note: Some iMovie themes, filters, and titles are either not available or cannot be modified in Final Cut Pro. You can re-create most of these effects in Final Cut Pro. See Intro to effects and Intro to titles. 1. Open iMovie on your iOS or iPadOS device. 2. Scroll projects in the Projects browser, then tap one to see project details. 3. Tap the Share button , then tap one of the following options: • AirDrop: Share wirelessly to a nearby Mac using AirDrop. • iTunes: Transfer the file to a Mac using iTunes and a USB cable connection. • iCloud Drive: Save the file to iCloud Drive and retrieve it with your Mac. For more information about these methods of sharing projects to other devices, see the iMovie User Guide for iPhone or the iMovie User Guide for iPad. 4. When prompted, choose the iMovie Project option (not the Video File option). 5. When the project file has finished copying, locate it on your Mac. Note: By default, AirDrop transfers appear in your Downloads folder. Projects sent to iCloud Drive appear in the iMovie folder in iCloud Drive. Final Cut Pro User Guide 53 6. In Final Cut Pro, choose File > Import > iMovie iOS Projects. Note: This is the only way to import projects created in iMovie for iOS or iPadOS. You can’t open an iMovie for iOS or iPadOS project in Final Cut Pro by double-clicking the project icon or dragging it to Final Cut Pro. 7. In the window that appears, navigate to the location where you stored the iMovie for iOS or iPadOS project file, select it, and click Import. The imported project appears in the current event in the browser. Note: Trailer projects are automatically converted to movie projects for use in Final Cut Pro. Any empty image wells in the trailer are replaced by placeholder clips. Import into Final Cut Pro from Photos When you import photos and video clips from Photos or another photos app into Final Cut Pro, the media is always copied into the Final Cut Pro library, regardless of your settings in Import preferences. This is the only exception to the general rule that the media is imported using the import settings you defined in Import preferences. See Import from your Mac or storage device. Note: You can’t use Aperture or iPhoto in versions of the Mac operating system after macOS 10.14. If your photos are in an Aperture library, you can update it to Photos. See the Apple Support article Migrate your Aperture libraries to Photos or Adobe Lightroom Classic. 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 2. In the Photos and Audio sidebar, click the photos app you want to import from. If you’re using macOS Mojave 10.14 or earlier, you may see Photos, iPhoto, or Aperture in the list of photos apps. Final Cut Pro User Guide 54 3. Use the pop-up menus at the top of the browser to choose a category and narrow your search. 4. To use one or more photos or video clips in your project, drag the items from the browser to the timeline. To select multiple clips, Command-click them or drag a selection rectangle around them. Tip: If you want photos or video clips from a different photo library to appear in the sidebar, open the other photo library in the Photos app. Then, in the General pane of Photos preferences, click “Use as System Photo Library.” Import into Final Cut Pro from Music You can import music and sound from your Music library into Final Cut Pro. 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 2. In the Photos and Audio sidebar, click Music. A list of your Music content appears in the browser. Note: If you’re using macOS Mojave 10.14, the item you click in the sidebar is iTunes, not Music. 3. Use the controls in the upper-right corner of the browser to find the music or sound you want: • Search for an item: Click the search field and type. • Choose which items to display: Click the Music pop-up menu and choose a category, playlist, or folder. • Preview an item: Select the item and click the Play button . • Select more than one item: Command-click each item. 4. Drag the clip or clips to the timeline. If you want to import just a portion of the clip, drag in the filmstrip at the top of the browser to select a range. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. If your Music library includes protected files, they are unavailable. (They do not appear in the browser.) Final Cut Pro User Guide 55 Import Motion content into Final Cut Pro You can build and modify video effects, titles, transitions, and generators in Motion 5 for use in Final Cut Pro. When you save a template in Motion, it is “published” and becomes available in its respective media browser in Final Cut Pro (the browser, Effects browser, or Transitions browser). See the information about Final Cut Pro templates in the Motion User Guide. For more information, see the following: • Modify transitions in Motion • Modify titles in Motion • Modify effects in Motion • Modify generators in Motion Import into Final Cut Pro from GarageBand and Logic Pro You can import music and sound from GarageBand and Logic Pro into Final Cut Pro. 1. Do one of the following: • In GarageBand: Choose Share > Song to Music. • In Logic Pro: Choose File > Share > Song to Music. 2. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 3. In the Photos and Audio sidebar, select GarageBand or Logic Pro. A list of your shared content appears in the browser. 4. To find the music or sound you want, do any of the following: • Search for an item: Type text in the search field at the top of the browser. • Choose which items to display: Click the pop-up menu at the top of the browser and choose a category, playlist, or folder. • Preview an item: Select the item and click the Play button . Final Cut Pro User Guide 56 • Select more than one item: Command-click each item. • Select part of a clip: Drag in the filmstrip at the top of the browser to select the part of the clip you want to import. See Select a range. 5. Drag the clip or clips to the timeline. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. Import into Final Cut Pro using workflow extensions You can install workflow extensions to access features of third-party apps from within Final Cut Pro. For example, you can access and import from stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro. 1. To install an extension, follow the instructions that came with the extension app. 2. Open Final Cut Pro. 3. Click the Extensions button on the left side of the Final Cut Pro toolbar. The Extensions button appears only when extensions are installed. The extension window or a menu of installed extensions opens. 4. Use the extension interface to locate the media you want to import. 5. Drag items from the extension window to an event in the Libraries sidebar or to a project in the timeline. 6. To close the extension window, click the Extensions button. To uninstall an extension, remove it from the Applications folder and reopen Final Cut Pro. Record video into Final Cut Pro You can record video directly into Final Cut Pro using your computer’s built-in camera or an external camera. Record live video and audio into Final Cut Pro 1. In Final Cut Pro, do one of the following: • Record using the built-in camera: Click the Import Media button in the toolbar. • Record using an external camera: Connect the camera to your Mac with a FireWire cable, then click the Import Media button in the toolbar. 2. In the Cameras list on the left side of the Media Import window, select the camera you want to import from. Final Cut Pro User Guide 57 A live video image from the camera appears in the Media Import window. 3. Click Import. 4. In the window that appears, choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 5. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 6. When you’re ready to begin recording, click Import. The camera begins recording immediately. 7. When you want to stop recording, click Stop Import. A new video clip is created. You can click Import to begin recording again. You can repeat this process as many times as necessary. Tip: You can also capture live video from some video camcorders over a FireWire cable using QuickTime X. See QuickTime Player Help (available from the Help menu when QuickTime Player is open). Final Cut Pro User Guide 58 Memory cards and cables used with Final Cut Pro To import media from your recording device to your Mac, you need to remove the memory card from your device and insert it into either your Mac or a memory card reader. You can also connect your device directly to your Mac using the appropriate cable. Then you can import the media on the memory card or device using the Media Import window. See Import from your Mac or storage device and Import from file-based cameras. • Memory cards: Many file-based camcorders and devices record media on a removable memory card. You can connect a card reader to your Mac and use that to transfer the contents of your memory card onto your Mac. Some Mac computers feature an SD (Secure Digital) or SDXC (SD extended capacity) card slot that allows data to be read from and written to SD media inserted in the slot. If your Mac has a card slot, you can remove the card from the camera, insert the card into your Mac, and then import the files. See About the SD and SDXC card slot. You can also connect your device to your Mac using one of the cables listed below. The kind of cable you need depends on the kind of device you’re using: • Thunderbolt 3 device: You can connect Thunderbolt 3 devices using a connector that plugs into the Thunderbolt 3 port on your Mac. • USB 2 or USB 3 device: You use a USB cable for file-based camcorders, digital still cameras that record video, and iPhone, iPad, and iPod touch. The USB cable should have at least one connector that plugs into your Mac (at the top in the illustration below). The other end of the USB cable, which plugs into your recording device, might look different (on the bottom in the illustration below). • USB-C device: USB-C cables support both data and video transfer. Final Cut Pro User Guide 59 • Thunderbolt or Thunderbolt 2 device: You can connect first- and second-generation Thunderbolt devices using a connector that plugs into the Mini DisplayPort on your Mac. • FireWire device: For most camcorders that record to tape, you use a FireWire cable with a 6-pin connector on one end that plugs into your Mac (at the top in the illustration below) and a 4-pin connector on the other end that plugs into your camcorder (on the bottom in the illustration below). Or you might have a FireWire 800 cable with a different end that plugs into your camcorder or Mac. If your device didn’t come with a cable and you’re not sure what kind of device you have, you can check the logo near the cable ports on your device to see if it matches the USB or FireWire logo, both shown above. Otherwise, check the documentation that came with your device. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. Media formats supported in Final Cut Pro You can import and work with the following video, audio, and still-image formats in Final Cut Pro: Video formats • Apple Animation codec • Apple Intermediate codec • Apple ProRes (all versions) • Apple ProRes RAW and Apple ProRes RAW HQ • AVCHD (including AVCCAM, AVCHD Lite, and NXCAM) • AVC-ULTRA (including AVC-LongG, AVC-Intra Class 50/100/200/4:4:4, and AVC-Intra LT) • Canon Cinema RAW Light (requires the camera manufacturer’s plug-in software) Final Cut Pro User Guide 60 • DV (including DVCAM, DVCPRO, and DVCPRO50) • DVCPRO HD • H.264 • HDV • HEVC (requires macOS 10.13 or later) • iFrame • Motion JPEG (OpenDML only) • MPEG IMX (D-10) • QuickTime formats • REDCODE RAW (R3D) (requires the camera manufacturer’s plug-in software) • Uncompressed 8-bit 4:2:2 • Uncompressed 10-bit 4:2:2 • XAVC (including XAVC-S) • XDCAM HD/EX/HD422 • XF-AVC • XF-HEVC Audio formats • AAC • AIFF • BWF • CAF • MP3 • MP4 • RF64 (requires macOS 10.13 or later) • WAV Still-image formats • BMP • GIF • HEIF (requires macOS 10.13 or later) • JPEG • PNG • PSD (static and layered) • RAW • TGA • TIFF Final Cut Pro User Guide 61 Container formats • 3GP • AVI • MOV (QuickTime) • MP4 • MTS/M2TS • MXF For information about formats you can export your movie to, see Supported export formats. Adjust ProRes RAW camera settings in Final Cut Pro Apple ProRes RAW brings to raw video the same great performance, quality, and ease of use that Apple ProRes has brought to conventional video, in a format ideal for highdynamic-range (HDR) content creation. ProRes RAW captures most of the sensor data from compatible cameras. This wealth of data allows you to flexibly adjust exposure and white balance in Final Cut Pro without losing any quality. You can view and adjust the ISO setting, exposure offset, and color temperature of ProRes RAW media using controls in the inspector. 1. Import one or more compatible Apple ProRes RAW clips. 2. In the Final Cut Pro browser or timeline, select the clip or clips you want to inspect or adjust. Note: Compound clips cannot be adjusted. 3. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 4. Click the Info button at the top of the inspector. 5. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. Final Cut Pro User Guide 62 6. In the Info inspector, view or adjust any of the following settings: Note: These settings appear only if the corresponding information is found in the clip metadata. • Camera ISO: Displays the as-shot ISO setting of ProRes RAW clips. Not adjustable. • ISO: Adjusts the ISO setting of ProRes RAW clips. • Exposure Offset: Adjusts the ISO setting of ProRes RAW clips up or down by as much as one stop. • Camera Color Temperature: Displays the as-shot color temperature of ProRes RAW clips. Not adjustable. • Temperature: Adjusts the color temperature of ProRes RAW clips. This slider is available only for clips shot with supported cameras. For information about cameras that are compatible with Apple ProRes RAW, see this Apple Support article. Import REDCODE RAW files into Final Cut Pro You can import and work with REDCODE RAW (R3D) files in Final Cut Pro. RAW format video files require some additional steps before and after import. After the R3D RAW files are imported, you can make nondestructive color correction adjustments directly within Final Cut Pro. Import REDCODE RAW (R3D) files 1. Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the RED Apple Workflow Installer. 2. Import the media into Final Cut Pro. Important: When you import the media, make sure to deselect the “Create optimized media” and “Create proxy media” options, because any transcoding work done during import will be discarded if you adjust the RAW settings in the next step. For more information about importing media, see Import from file-based cameras and Import from your Mac or storage device. Note: If you’re importing files from the RED ONE camera, it’s recommended that you import the R3D RAW files only. The RED ONE camera typically generates a set of up to four QuickTime reference movie (.mov) files for each R3D RAW file. If you select both the R3D file and the reference movies during the import process, only the R3D file is imported. If you need to import a reference movie, select only the reference movie, not the R3D file. 3. Adjust the RAW settings (with Final Cut Pro or with an external application such as REDCINE–X PRO). You can apply a nondestructive “one-light” color correction to the R3D RAW clips immediately after import, to give your footage a more finished look for editing and review. Final Cut Pro User Guide 63 If you have a professional production with sophisticated color correction needs, you can revisit these RAW settings during the finishing stage. See Adjust RED RAW settings, below. 4. If you like, generate optimized or proxy media from the R3D RAW files. See Create optimized and proxy files. To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. 5. Add the R3D RAW clips to your project and edit them as you would any other clips. Adjust RED RAW settings You can adjust REDCODE RAW (R3D) files in Final Cut Pro using the RED RAW Settings window. Metadata about REDCODE RAW (R3D) files can be stored in two locations: • Internal (embedded) settings: This is information recorded by the camera and embedded in the R3D RAW file. It always remains with the file. These camera settings can be superseded by settings in the external RMD file, but they are never overwritten. You can revert to these camera settings by deleting any existing RMD file or by clicking the Revert To pop-up menu in the RED RAW Settings window and choosing Original Camera Settings. • External RMD file: This is an external metadata file with the file extension .RMD. This file is created by Final Cut Pro, REDCINE-X PRO, or similar apps. If you adjust RED RAW settings in Final Cut Pro and an RMD file already exists, the existing file is overwritten when the changes are saved. The embedded camera settings remain intact. 1. Verify that the current versions of Final Cut Pro and Pro Video Formats software are installed: • Final Cut Pro: Choose Apple menu > App Store, then click Updates in the sidebar. • Pro Video Formats: Choose Apple menu > System Preferences, then click Software Update. 2. Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the corresponding plug-in. For more information, go to http://www.red.com. 3. In the Final Cut Pro browser or timeline, select the clip or clips you want to adjust. Note: Compound clips cannot be adjusted. 4. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 64 5. Click the Info button at the top of the inspector. 6. In the Info inspector, click the Modify RED RAW Settings button. 7. In the RED RAW Settings window, adjust the settings. Your changes are saved nondestructively to an external metadata file with the file extension .RMD, overwriting any existing RMD metadata file. Unlike video effects that are applied to a clip, these adjustments are associated with the file (via the RMD metadata file). Any changes you make to these settings are applied to all copies of the selected clip or clips. To produce wide-gamut colors for HDR without the use of a LUT, set Color Space to Rec. 2020 and Gamma to HDR-2084. For information about wide-gamut HDR settings in Final Cut Pro, see Use wide-gamut HDR color processing. Note: Final Cut Pro supports the RED ROCKET card, a PCI card that provides a significant boost in performance. For more information about REDCODE RAW (R3D) files and the RED ROCKET card, go to http://www.red.com. Import Canon Cinema RAW Light files into Final Cut Pro You can import and work with Canon Cinema RAW Light files in Final Cut Pro when you install additional software from Canon. Your camcorder or camera must be compatible with Final Cut Pro. For a list of compatible devices, see the Apple Support article Cameras supported by Final Cut Pro. 1. Verify that the current versions of Final Cut Pro and Pro Video Formats software are installed: • Final Cut Pro: Choose Apple menu > App Store, then click Updates in the sidebar. • Pro Video Formats: Choose Apple menu > System Preferences, then click Software Update. 2. From the Canon website, download the appropriate Canon plug-in for Final Cut Pro, then install the software on your Mac. 3. Import the media into Final Cut Pro. See Import from file-based cameras and Import from your Mac or storage device. Note: Canon Cinema RAW Light files have the filename extension .crm. 4. Optionally, confirm that Final Cut Pro applied the appropriate built-in Canon camera LUT (Canon Log 2/Cinema Gamut), or apply a custom LUT. See Apply LUTs. 5. If you like, generate optimized or proxy media from the Canon Cinema RAW Light media. After you add the Canon Cinema RAW Light clips to your project, you can edit them as you would any other clips. Final Cut Pro User Guide 65 Analyze media Intro to analyzing media in Final Cut Pro You can have Final Cut Pro analyze your media (video, audio, and still images) and automatically correct common problems. For example, you can balance color and remove excess hum or loudness. You can also analyze clips to identify their contents. Analysis can detect the number of people in a shot and identify whether the shot is a close-up, medium, or wide shot. This is helpful if you need to quickly find a certain type of clip while viewing footage or editing a project. For complete lists of the video and audio analysis options, see Video analysis options and Audio analysis options. You can analyze media during import or after you import the media into Final Cut Pro. You can also set Final Cut Pro to automatically analyze clips you drag directly to the Final Cut Pro timeline from the Finder. After certain types of analysis, keywords are automatically added to clips or clip ranges based on the results of the analysis. For example, a clip showing several people might have the Group and Medium Shot keywords assigned. In the browser, clips with analysis keywords have a purple line at the top. (Clips with keywords you add manually or keywords imported from Finder tags or folder names have a blue line at the top. See Add keywords.) Note: This section covers analysis and automatic correction options for event clips only. For information about correcting shaky video and rolling shutter distortion in clips in the timeline, see Correct shaky video. Final Cut Pro User Guide 66 Video analysis options in Final Cut Pro Final Cut Pro provides video and still-image analysis options that can automatically balance color in video and detect people and shot angles in video or still images. You can analyze video during import, or analyze video clips in the browser after import. Based on the results of the analysis, analysis keywords are added to clips or clip ranges. Final Cut Pro provides these video and still-image analysis options: • Analyze for balance color: Analyzes video clips to detect color balance and contrast. Color is automatically balanced when you add the clip to the timeline. You can turn automatic color adjustments on and off at any time. • Remove pulldown: Analyzes video clips and removes pulldown patterns. Important: This option is available only when importing from a tape-based camera or device. • Find people: Analyzes video clips and still images for the number of people present and shot types. After analysis, any of the following keywords are added to the clips or clip ranges: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. Tip: To easily locate clips with “find people” analysis keywords, select the “Create Smart Collections after analysis” checkbox. • Consolidate find people results: Consolidates all of the “find people” analysis keywords into one shot type keyword and one people keyword for every 2-minute segment of video. The shot type keyword chosen is the one for the widest shot type, and the people keyword chosen is the one representing the most people. For example, if a video segment contains Medium Shot, Wide Shot, One Person, and Group keywords, the segment’s analysis keywords are reduced to Wide Shot and Group during consolidation. • Create Smart Collections after analysis: Creates a Smart Collection for each keyword applied when video clips and still images are analyzed for the presence of people. The Smart Collections are listed alphabetically in a People folder inside the event in the Libraries sidebar. When you drag a media file from the Finder to a Final Cut Pro event or the timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Import pane of Final Cut Pro preferences. Audio analysis options in Final Cut Pro Final Cut Pro provides automatic analysis options that can fix common audio problems, analyze and group audio channels, and remove silent channels. You can analyze audio during import, or analyze video clips with audio issues in the browser or in the timeline. Final Cut Pro provides these audio analysis options: • Analyze and fix audio problems: Analyzes the audio for hum, noise, and loudness. Final Cut Pro automatically fixes problems that are considered severe (marked in red) and flags problems that are considered moderate (marked in yellow). See Enhance audio. • Separate mono and group stereo audio: Audio channels are analyzed and grouped as dual mono or stereo, depending on the results of the analysis. Automatically corrected audio channels are marked as Autoselected. For more information about audio channels, see Configure audio channels. Final Cut Pro User Guide 67 • Remove silent channels: Audio channels are analyzed, and silent channels are removed. Clips that have had channels removed are marked as Autoselected. For more information about audio channels, see Configure audio channels. When you drag a media file from the Finder to a Final Cut Pro event or the timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Import pane of Final Cut Pro preferences. Analyze your media in Final Cut Pro You can analyze clips during the import process, analyze clips in the browser after import, or set Final Cut Pro to analyze clips automatically when they’re dragged to a Final Cut Pro event or the timeline. Analyze clips during import 1. In Final Cut Pro, do one of the following: • Import a file from a compatible camcorder or camera, iPad, iPhone, iPod, or other device: Connect the device to your Mac and turn on the device, then choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import a file from a tape-based camcorder: Connect the camcorder to your Mac, turn on the camcorder, and set it to VTR or VCR mode. Then choose File > Import > Media (or press Command-I) and click the Import button. • Import a file from a memory card: Insert the memory card into the card slot on your Mac or into a card reader that’s connected to your Mac, then choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import a file located on your Mac or a connected external storage device: Choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import from an archive: Choose File > Import > Media (or press Command-I). In the window that appears, select the archive you want to import from, select the files in the archive you want to import, then click the Import button. 2. In the window that appears, choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing Event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new Event,” then type a name for the event (for example, “Chris and Kim Wedding”) in the text field. Use the “Save to” pop-up menu to choose the location where you want to store the event. To learn more about events, see Intro to libraries. 3. Select the video and audio analysis options that you want to apply. See Video analysis options and Audio analysis options. The files will be analyzed in the background after the import is complete. 4. Click Import. Final Cut Pro User Guide 68 The import may take a while, depending on the options you selected in step 3. You can view the progress of the import and other background tasks in the Background Tasks window. Analyze clips after import 1. In Final Cut Pro, select a clip to analyze by doing one of the following: • Click the clip in the browser. To select multiple clips, Command-click them or drag a selection rectangle around them. • Control-click a clip in the timeline, then choose Reveal in Browser. 2. In the browser, Control-click the clip or clips, then choose “Analyze and Fix.” 3. In the window that appears, select the video and audio analysis options that you want to apply, then click OK. See Video analysis options and Audio analysis options. Transcoding may take a while, depending on the analysis options you selected. You can see the status of transcoding and other background processes in the Background Tasks window. Automatically analyze media files when they’re dragged to an event or the timeline 1. In Final Cut Pro, choose Final Cut Pro > Preferences. 2. In the Preferences window, click Import, then select the video and audio analysis options that you want to apply. See Import preferences. When you’re finished, close the Preferences window. 3. To import one or more files, select a file (or Command-click multiple files) in the Finder, then drag the selection to an event or the timeline. View analysis keywords in Final Cut Pro If you analyze media to find people, analysis keywords—such as One Person, Close Up Shot, and so on—are automatically added to clips or clip ranges. Clips or ranges with analysis keywords are marked with a purple line in the browser. You can view a clip’s analysis keywords in several locations in Final Cut Pro. Final Cut Pro User Guide 69 View keywords in the Skimmer Info window 1. In Final Cut Pro, choose View > Browser > Skimmer Info (or press Control-Y). 2. Skim the clip in the browser. Keywords, including analysis keywords, are displayed in the Skimmer Info window when you hold the pointer over the clip. To turn off Skimmer Info, choose View > Browser > Skimmer Info (or press Control-Y). View keywords in list view in the browser 1. In Final Cut Pro, click the List View button in the top-right corner of the browser. 2. To see a clip’s keywords, click the disclosure triangle next to the clip. Final Cut Pro User Guide 70 View the contents of a Smart Collection If you chose to create Smart Collections after analysis, clips that have analysis keywords are automatically grouped in Smart Collections within the event in the Libraries sidebar. A Smart Collection is created for each analysis keyword and placed in a People folder in the event. • In the Libraries sidebar in Final Cut Pro, select an analysis keyword Smart Collection inside an event. The clips with that analysis keyword appear in the browser. For example, if you select the Medium Shot Smart Collection, all the clips in the event that have the Medium Shot keyword appear in the browser. Final Cut Pro User Guide 71 Play back and organize media Play back and skim media Intro to playback in Final Cut Pro Final Cut Pro makes it easy to view and listen to your media, whether it’s located in the timeline or the browser. You use two tools to preview and play back media in Final Cut Pro: • The playhead marks the current position in the timeline or the browser. You can move the playhead by dragging it (called scrubbing) or by clicking another area in the timeline or a clip. You can also play back a clip or project from the playhead’s current position. The playhead appears as a light gray vertical line that is fixed in place unless you move it or click elsewhere. • The skimmer lets you preview clips in the timeline and the browser without affecting the playhead position. You use the skimmer to skim, or freely move over clips to play them back at the position and speed of the pointer. The skimmer appears as a red vertical line as you move the pointer over the area you’re skimming. If you have snapping turned on, the skimmer turns yellow when it snaps to a position. When skimming is turned on, you can skim to see what’s in other clips but still keep your playhead position in the timeline. If both the playhead and skimmer are present in the same clip, the skimmer becomes the default position for playback or editing. Final Cut Pro User Guide 72 When skimming is turned off or the skimmer is not present in a clip, the playhead assumes the default position. Play media in Final Cut Pro Final Cut Pro provides many options for playing back projects and clips. You can play a project or clip from the beginning, play it from a certain point, play it at different speeds, and loop playback. You can also play video in full-screen view. To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Play back video and audio clips In Final Cut Pro, do any of the following: • Play a project or clip from the beginning: Select the project or clip, then choose View > Playback > Play from Beginning (or press Control-Shift-I). • Play a section of a project, selected clips, or a frame range from the beginning: In the timeline, select clips, or select a range, then choose View > Playback > Play Selection, or press the Slash (/) key. When you select a clip or a portion of a clip or project, the selected area is marked with a yellow border. • Play a project or clip from a specific point: In the browser or the timeline, click a point in the project or clip where you want to begin (or move the playhead to a point in the timeline), then either press the Space bar or click the Play button in the viewer. Final Cut Pro User Guide 73 • Play around the playhead or skimmer: Choose View > Playback > Play Around, or press Shift-Question Mark (?). • Stop playback: Press the Space bar. • Play clips in the browser without interruption: Choose View > Browser > Continuous Playback. When this setting is chosen, all event clips play without interruption (rather than stopping at the end of each clip). Use the J, K, and L keys for playback You can use the J, K, and L keys on your keyboard to play a project or clip at up to 32x normal speed. Playback begins at the location of the playhead (for a project) or the skimmer (for a clip). You can also use the J, K, and L keys to control a video playback device. In Final Cut Pro, you can use these keys to speed playback up to 32x normal speed. 1. In Final Cut Pro, position the playhead or the skimmer in the browser or the timeline. 2. Do any of the following: • Begin forward playback at normal (1x) speed: Press L. • Begin reverse playback at normal (1x) speed: Press J. • Pause playback: Press K. • Double the current playback speed: Press L or J twice. • Immediately reverse the playback direction: Press J to play in reverse, or press L to play forward. • Move the playhead one frame at a time: Hold down the K key, and press J or L. • Move the playhead at 1/2x speed: Hold down the K key while holding down J or L. Final Cut Pro User Guide 74 When you use keyboard shortcuts to control a device (like a camcorder or camera), the speed of forward (L) and reverse (J) playback may vary depending on your video equipment. Play back media in a loop You can turn on looping so that a project or a clip (or any portion of either) plays in a continuous loop. 1. To turn on looping in Final Cut Pro, choose View > Playback > Loop Playback (or press Command-L). 2. Do any of the following: • Loop your entire project: Click the timeline to make it active, then press the Space bar. • Loop a clip in the browser: Select the clip, then press the Space bar. • Loop a portion of a clip or project: Select a range in a browser clip or the timeline (or select a timeline clip), then choose View > Playback > Selection, or press the Slash (/) key. Play video in full-screen view 1. In Final Cut Pro, open a project in the timeline or select a clip in the browser, then position the playhead where you want the video to begin. 2. Do one of the following: • Choose View > Playback > Play Full Screen (or press Shift-Command-F). • Click the Play Full Screen button below the lower-right corner of the viewer. The item plays in full-screen view starting at the playhead position. Tip: You can use all the playback shortcut keys during full-screen playback, including J, K, L, and others. For a full list of the available shortcuts, see Playback and navigation. To leave full-screen view, press the Esc (Escape) key. When you play back clips, the frames under the playhead or skimmer play in the viewer. If you need to play two clips at once so that you can compare them, you can use the event viewer, a separate viewer for playing back event clips only. The event viewer appears to the left of the main viewer. See Play media in the event viewer. Skim media in Final Cut Pro You can quickly skim your video and audio to preview it, search for a particular shot, or make an edit. When skimming is turned on and you move the pointer forward or backward over a clip in the browser or the timeline, the content under the pointer plays in the viewer. You can also use the Blade, Trim, and Range Selection editing tools to skim clips in the timeline or the precision editor. You can also turn on clip skimming to view or hear individual clips in isolation. As you’re editing in Final Cut Pro, you may find skimming distracting when you move the pointer from one location to another. You can disable all skimming (or just audio skimming). Final Cut Pro User Guide 75 Skim clips • In Final Cut Pro, move the pointer forward or backward over a clip in the browser or the timeline. The skimmer (a vertical red line) indicates exactly where the pointer is as you skim, and the corresponding frames are displayed in the viewer. Tip: You can also press the Space bar at any time to play forward from the skimmer position. Skim clips with editing tools The Blade, Trim, and Range Selection tools behave as skimmers as you move the pointer over a clip. 1. In Final Cut Pro, select a clip in the timeline or open the precision editor. 2. Click the Tools pop-up menu above the timeline, then choose the Blade, Trim, or Range Selection tool. 3. Move the tool forward or backward over a clip. When using an editing tool as a skimmer, you can skim and add markers to clips below connected clips in the timeline. Note: When you skim clips with editing tools, Final Cut Pro displays the source timecode for those clips. See View source and project timecode. Final Cut Pro User Guide 76 Turn skimming on and off In Final Cut Pro, do any of the following: • Turn all skimming on or off: Click the Skimming button. You can also choose View > Skimming (or press S). • Turn audio skimming on or off: Click the Audio Skimming button. You can also choose View > Audio Skimming (or press Shift-S). When skimming is turned on, the skimming buttons appear highlighted. Note: When skimming is turned off, you can still skim with the Blade, Trim, and Range Selection editing tools. Skim audio for individual clips or audio components You can turn on clip skimming to limit audio skimming to an individual clip. This is useful if you have a connected clip in the timeline and want to skim it without also hearing audio from the clip in the primary storyline. When clip skimming is turned on, Final Cut Pro displays the source timecode for clips as you skim. Important: You must turn on audio skimming to use this feature. • In Final Cut Pro, choose View > Clip Skimming (or press Option-Command-S). A checkmark appears next to the menu item to indicate that clip skimming is turned on. You can also use clip skimming to skim and listen to an individual audio component when editing clips that show expanded audio components. If clip skimming is turned off, you hear combined audio for all components in the clip as you skim. Tip: To view expanded audio components, select the clip in the timeline and choose Clip > Expand Audio Components (or press Control-Option-S). With clip skimming enabled, you can view source timecode as you skim clips in the timeline. See View source and project timecode. Final Cut Pro User Guide 77 Play media in the Final Cut Pro event viewer Sometimes, you may need two viewers so that you can play back and skim event clips separately from timeline clips. The event viewer is a separate video display that appears next to the main viewer. With the event viewer and the viewer open, you can display two clips at the same time: one from the browser and one from the timeline. You use the event viewer to play clips in the browser only. As you do with the main viewer, you can show video scopes, color channels, title and action safe zones, and multicam angles (with the event viewer set to show angles). Playback and adjustment controls are identical in the viewer and the event viewer. Other viewer-related operations (including onscreen controls and built-in effects) are done with the main viewer. Open or close the event viewer • In Final Cut Pro, choose Window > Show in Workspace > Event Viewer (or press Control-Command-3). Note: If you’re using video scopes with the event viewer, you may find it convenient to display the scopes below the video image rather than on the left side (the default). To display scopes below the video image, click the View pop-up menu at the top of the video scopes display and choose Vertical Layout. See Display video scopes. Compare two video frames in Final Cut Pro In Final Cut Pro, you can show the comparison viewer next to the main viewer to compare any two frames of video side by side. For example, you can compare frames to look for differences or similarities in color correction, cropping, titles, video effects such as blurs or masks, and so on. You can use the comparison viewer in two modes in Final Cut Pro: • Saved: Save frames to the comparison viewer so you can compare them to any frame in the timeline or the browser. In Saved mode, you can use the comparison viewer with a frame browser that shows thumbnails of your saved frames. You can save up to 30 frames from anywhere in your project or library, and you can display saved frames in the comparison viewer with just a click. Final Cut Pro User Guide 78 • Timeline: Quickly compare a frame in your project with a frame from the previous or next clip in the timeline. As you move the playhead in the timeline, the comparison viewer updates automatically to show either the last frame of the previous clip or the first frame of the next clip. Show the comparison viewer • In Final Cut Pro, choose Window > Show in Workspace > Comparison Viewer (or press Control-Command-6). The comparison viewer appears next to the main viewer. Note: You can’t show the comparison viewer and the event viewer at the same time. Compare saved frames in the comparison viewer 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. Click the Saved button at the top of the comparison viewer. 3. In the timeline or the browser, position the playhead on the frame you want to save to the comparison viewer, then click the Save Frame button in the lower-right corner of the comparison viewer. The frame appears in the comparison viewer. A thumbnail of the saved frame also appears in the frame browser. See Store and review frames in the frame browser, below. 4. In the timeline or the browser, position the playhead on the frame you want to compare with, so that it appears in the viewer. Store and review frames in the frame browser When working with the comparison viewer in Saved mode, you can view, add, and remove saved video frames in the frame browser. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. To open the frame browser, click the Saved button at the top of the comparison viewer, then click the Frame Browser button in the lower-left corner. Final Cut Pro User Guide 79 3. To save a frame to the frame browser, position the playhead on a frame in the timeline or the browser, then do one of the following: • Click the Save Frame button in the lower-right corner of the comparison viewer. • Click the Save Frame button in the lower-left corner of the frame browser. The saved frame appears in the comparison viewer, and its thumbnail is added to the frame browser. When the frame browser reaches 30 saved frames, the oldest image will be deleted to make room for newly saved frames. You can access saved frames from any project in the current library, but they are not available across libraries. 4. In the frame browser, do any of the following: • Display a saved frame in the comparison viewer: Click its thumbnail. • Quickly preview a saved frame in the comparison viewer: Hold down the Option key as you move the pointer over a thumbnail. • Remove a saved frame: Select its thumbnail and press Delete. Compare the previous or next clip in the timeline The Previous Edit and Next Edit buttons in the comparison viewer’s Timeline mode let you quickly compare a frame in the timeline with frames in adjacent clips. This is particularly useful for color correcting a series of shots in a scene that requires continuity in color and exposure. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. Click the Timeline button at the top of the comparison viewer. 3. In the timeline, position the playhead on the frame you want to compare to a frame in an adjacent clip. The video frame appears in the viewer. Final Cut Pro User Guide 80 4. To set the frame that appears in the comparison viewer, click one of the following buttons at the bottom of the comparison viewer: • Previous Edit: Shows the last frame of the previous clip in the timeline. • Next Edit: Shows the first frame of the next clip in the timeline. For more information about color correction, see Manual color correction workflow. Display video scopes in the comparison viewer You can display video scopes in the comparison viewer, just as you can in the main viewer. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. In the upper-right corner of the comparison viewer, choose View > Video Scopes, or press Command-7 while the comparison viewer is active. Tip: You can use the Command Editor to assign a keyboard shortcut to save a video frame to the comparison viewer (or to switch the active viewer between the comparison viewer and the viewer when working with an external display). In the Command Editor, search for “comparison viewer.” See Intro to the Command Editor. Play media on an external display in Final Cut Pro Final Cut Pro includes an A/V Output option to send video and audio from your Mac to an external video monitor. The A/V Output feature shows you how video and audio look and sound on a reference SDR or HDR video monitor. In addition, this feature allows you to test output with sophisticated external devices such as vectorscopes and waveform monitors. A/V Output also lets you use the Pro Display XDR as a dedicated HDR color reference monitor for video editing and color correction. Note: If you have a second computer display connected to your Mac, you can expand your workspace by showing the viewer, browser, or timeline on the second display. See Use a second display. Final Cut Pro User Guide 81 View playback on an external monitor using a third-party video interface 1. Install the video interface hardware and software according to the manufacturer’s instructions. 2. Connect an external video monitor to the video interface, and make sure the monitor and all other external devices are connected to power and turned on. 3. To select an A/V output device in Final Cut Pro, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose the external monitor. 4. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the broadcast monitor. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. Use the Pro Display XDR as a dedicated HDR color reference monitor On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as HDR color correction. You can enable A/V Output to set up an HDR color correction system with at least two displays: the Pro Display XDR as the external HDR reference monitor and a display for working with the Final Cut Pro interface. For instructions, see Color correct HDR video with Pro Display XDR. Final Cut Pro User Guide 82 View playback on an external monitor using HDMI If you’re using Final Cut Pro 10.1 or later on a 4K-capable Mac with an HDMI port or a Thunderbolt port and an HDMI adapter, you can play 4K or HD 1080 video on an external video monitor connected to the HDMI port. 1. Use an HDMI cable to connect the external HDMI video monitor to the HDMI port on your Mac, and make sure the monitor is connected to power and turned on. 2. To configure the HDMI monitor, choose Apple menu > System Preferences, then click Displays. 3. In Displays preferences, set the HDMI monitor to be a secondary display. 4. Select Scaled, and in the list that appears, select 4096 x 2160, 3840 x 2160, 1080i, or 1080p. Note: You may need to press the Option key while you click Scaled to see additional resolutions for the HDMI monitor. 5. To select the monitor in Final Cut Pro, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose the HDMI monitor. 6. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the HDMI monitor. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: If you’re viewing HDR video on a system with macOS Catalina 10.15 or later, you can have Final Cut Pro show the HDR image as tone mapped. Tone mapping compresses bright image content and reduces the apparent dynamic range of the video to fit the viewable range of the connected display. To turn on tone mapping, open the Playback pane of Final Cut Pro preferences and select the Show HDR as Tone Mapped checkbox at the bottom of the pane. Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. For more information about third-party devices and software, contact the device manufacturer or go to the Final Cut Pro Resources webpage. Final Cut Pro User Guide 83 Control playback quality in Final Cut Pro You can adjust settings in the viewer to manage visual quality and playback performance. For example, you can increase playback performance by displaying video at reduced resolution or by using proxy media. Set playback quality • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose an option in the Quality section: • Better Quality: Choose this option to display full-resolution video frames in the viewer. This setting may decrease playback performance for high-quality, largeframe-size video. • Better Performance: Choose this option to display video in the viewer at reduced resolution. Decreasing the size of the media maintains playback performance even for very large media files. Choose the type of playback media • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose an option in the Media Playback section: • Optimized/Original: Choose this option to edit with optimized media (in the Apple ProRes 422 format) for playback. If optimized media is not available, Final Cut Pro uses the original media for playback. • Proxy Preferred: Choose this option to edit with proxy media for playback. If proxy representations aren’t available, Final Cut Pro uses optimized or original media for playback. • Proxy Only: Choose this option to edit with proxy media rather than full-resolution media for playback. Choosing this option increases playback performance but lowers the video quality. In Final Cut Pro, proxy media is in either the Apple ProRes 422 Proxy or H.264 format. For details about proxy media format and frame size options, see Import preferences and Create optimized and proxy files. You can use the Info inspector to determine whether optimized or proxy media files exist for a given clip. See View a clip’s information. If you choose Proxy Only in the View pop-up menu and no proxy media file exists, a Missing Proxy File alert icon appears in the viewer. Important: If you use proxy media for playback, make sure to switch back to optimized/ original media before sharing your project. This ensures the highest quality in the exported file. See Intro to sharing projects. Show overlays in the Final Cut Pro viewer You can add video overlays to the viewer to guide you when placing text and graphics or cropping an image. Title-safe and action-safe overlays show you the boundaries your graphics and text need to stay within so they’ll appear when the program is played on television. You can also create custom overlays tailored to the needs of your project. For example, you can reserve an area of the screen for a logo or graphic that hasn’t been produced yet. Final Cut Pro User Guide 84 Note: Overlays appear only in the viewer. Output media files are not affected. Show title-safe and action-safe overlays The title-safe area is the inner 80 percent of the screen, guaranteed to be visible on all televisions. To prevent text in your video from being hidden by the edge of a TV set, you should restrict any titles or text to the title-safe area. The action-safe area is 90 percent of the image area. Most of the time, anything in your video image that’s outside of this area won’t be displayed on a television screen, so make sure important material is framed within the action-safe area. • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose Show Title/Action Zones. Lines indicating title-safe and action-safe areas appear in the viewer. Final Cut Pro User Guide 85 Add custom overlays Custom overlays are useful for the various vertical and square aspect ratios common in social media video projects. 1. In Final Cut Pro, create a new project or open an existing project. The example below shows a vertical project. 2. Create a custom overlay image in an image editing app. It’s best to create an image with an alpha channel (in which the reserved areas are opaque and the safe areas are transparent). The image pixel dimensions or aspect ratio should match that of your project settings. Save the image in a format that supports alpha channels, such as PNG. 3. To import the image and add it as an overlay, click the View pop-up menu in the upperright corner of the viewer, then choose Choose Custom Overlay > Add Custom Overlay. Your custom overlay appears in the viewer. 4. Do any of the following: • Adjust the opacity (transparency) of the overlay: Click the View pop-up menu in the upper-right corner of the viewer and choose Show Custom Overlay, then choose a percentage from the Opacity submenu. • Turn off (disable) a custom overlay: Click the View pop-up menu in the upper-right corner of the viewer, then choose Show Custom Overlay. • Turn on a previously added custom overlay: Click the View pop-up menu in the upper-right corner of the viewer and choose Choose Custom Overlay, then choose the overlay from the submenu. Final Cut Pro User Guide 86 Background rendering in Final Cut Pro Rendering is the process of creating temporary video and audio render files for segments of your project that Final Cut Pro can’t play in real time. When you add effects, transitions, generators, titles, and other items that require rendering for playback at high quality, the render indicator (a light gray dotted line) appears below the ruler at the top of the timeline. By default, rendering begins in the background 5 seconds after you stop working and moving the pointer in Final Cut Pro. You can turn off background rendering or adjust this setting in Final Cut Pro preferences (see Playback preferences). You can also manually control rendering for a project or a portion of a project, and you can delete render files for one or more projects, events, or libraries to free up storage space. See Manage render files. Play back slow-motion clips in Final Cut Pro To create high-quality slow-motion effects, you can use your video camera or iPhone to record video at high frame rates—those in excess of the standard 30 frames per second (fps). For example, iPhone 11 Pro Max in the Slo-mo setting can record video at up to 240 fps. The resulting slow-motion clips appear in the Final Cut Probrowser with an icon to indicate that they were recorded at a high frame rate. Final Cut Pro User Guide 87 Organize your library Intro to libraries in Final Cut Pro A library contains multiple events and projects in the same location. When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) appear as clips in one or more events in the library. An event is similar to a folder that can hold projects as well as dozens, hundreds, or even thousands of video clips, audio clips, and still images. Each event in the library refers to media on your Mac or storage device, and a database file keeps track of where everything is. When you select an event in the library, the media it contains appears as clips in the browser. You select clips or portions of clips in the browser to work with them. You can sort clips in the browser by creation date, as well as by date imported, reel, scene, clip duration, and file type. As your library grows, you can rename, copy, move, and delete your clips, events, and projects as necessary. You can have multiple libraries open at the same time, and you can easily copy events and projects between libraries. For more information about managing multiple libraries, see Intro to managing libraries. Organize your projects, events, and media Create a new event in Final Cut Pro After importing your source media files into Final Cut Pro, you may find that you need to create additional events to organize your media. For example, after importing media shot for a production, you may decide to split the media into events defined by useful categories—shooting locations, scenes, episodes, and so on. Final Cut Pro User Guide 88 By giving your events descriptive names, such as “2017 Smith Wedding,” you can organize all of your media so that it’s readily accessible. 1. In the Libraries sidebar in Final Cut Pro, select the library in which you want to create a new event. 2. Choose File > New > Event (or press Option-N). 3. In the window that appears, type a name for the event, click the Library pop-up menu and choose a library to hold the event, then click OK (or press Return). If you want to include a new, untitled project, select the Create New Project checkbox. To customize settings for the new project, click Use Custom Settings. See Modify a project’s settings. The new event appears in the selected library. 4. Move clips from other events into the new event, as necessary. Rename items in Final Cut Pro You can rename clips, projects, and events. Renaming a clip affects only that instance of the clip. For example, if you add a clip from the browser to the timeline, copy clips between events, or copy clips within the timeline, each of these clip instances (copies) is independent of the others and can have its own name. Important: Renaming a clip in Final Cut Pro does not rename the clip’s source media file on your Mac or storage device. Rename a clip or project in the browser In the Final Cut Pro browser, do any of the following: • Rename a clip or project in filmstrip view: Click the clip’s or project’s name, then type a new name. • Rename a clip or project in list view: Click the clip’s or project’s name, press Return, then type a new name. For more information about filmstrip view and list view, see Intro to browser views. You can also rename a project in project settings. See Modify a project’s settings. Rename a clip in the timeline • In the Final Cut Pro timeline, Control-click the clip and choose Rename Clip, then type a new name. Rename an event 1. In the Libraries sidebar in Final Cut Pro, select the event you want to rename. 2. Do one of the following: • Click the event’s name and type a new name. • Press Return and type a new name. Final Cut Pro User Guide 89 Rename a clip in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. Click the Clips button at the top of the timeline index. 3. Select the Name field for a clip, click again (or press Return), then type a new name. Rename a clip in the Info inspector 1. In Final Cut Pro, select a clip in the browser or the timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. Click in the Name field and type a new name. Merge and split events in Final Cut Pro You can merge (combine) two or more events in a library (for example, if the media and projects they contain are very closely related). If you find an event is getting bulky and unmanageable, you can split it into multiple events. You can also sort events in the Libraries sidebar by name or date. Final Cut Pro User Guide 90 Merge multiple events 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Drag one or more events to an event you want to combine them with. • Select the events you want to combine, then choose File > Merge Events. The events are merged into a single event in the library. The corresponding source media files remain in their original locations, either in the library file or linked from external folders. 2. Select the merged event and type a new name. Split an event into multiple events 1. In Final Cut Pro, create the new events you need. 2. Drag the clips and projects you want to relocate from the original event to the new events. The corresponding source media files remain in their original locations, either in the library file or linked from external folders. Sort events by name or date 1. In Final Cut Pro, do one of the following: • Sort events by name: Choose View > Sort Library Events By > Name. • Sort events by date: Choose View > Sort Library Events By > Date. 2. To change the sort order, do one of the following: • Set an ascending sort order: Choose View > Sort Library Events By > Ascending. This option sorts the events in alphabetical or chronological order. • Set a descending sort order: Choose View > Sort Library Events By > Descending. This option sorts the events in reverse alphabetical or chronological order. Move items between events in Final Cut Pro You can copy and move clips and projects from one event to another. For information about copying and moving clips, projects, and events to other libraries, see Copy or move items between libraries. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips or projects you want to copy or move. 2. In the browser, select the clips or projects you want to copy or move. Note: You can’t select clips and projects at the same time. Final Cut Pro User Guide 91 3. Do one of the following: • Copy the items: Option-drag the items from one event to the other by first starting to drag and then holding down the Option key as you drag. • Move the items: Drag the items from one event to the other. The event to which you copy or move the clips may be re-sorted in the library. Duplicate projects and clips in Final Cut Pro Duplicating projects and clips is a fundamental technique in your editing workflow. For example, you can duplicate a project to work on a new version of it. You can also duplicate a project and change its settings (such as the aspect ratio) at the same time. If you work on projects that contain compound clips and multicam clips, you can use the Snapshot Project command to create a self-contained backup version of a project that includes referenced compound clips or multicam “parent” clips. Changes you make to other instances of the compound clips or multicam clips do not affect the versions in the duplicate, so your project is protected from accidental changes. For more information about compound clips and multicam clips, see Intro to compound clips and Intro to multicam editing. Duplicate projects and clips 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips or projects you want to copy. 2. In the browser, select the clips or projects you want to copy. Note: You can’t select clips and projects at the same time. 3. Choose Edit > Duplicate (or press Command-D). The duplicate items appear in the browser next to the originals. Duplicate projects as snapshots When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the duplicate, so any changes to other instances of those clips do not affect the duplicate. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to duplicate as a snapshot. 2. In the browser, select the project you want to copy. 3. Choose Edit > Snapshot Project (or press Shift-Command-D). The duplicate project appears in the browser with the word “Snapshot” and the date and time appended to the project name. Duplicate a project and change the project settings You can use the Duplicate As command to quickly and easily create a copy of a project with different project settings. This is useful for creating a new version of a project with a different aspect ratio. For example, you might want to create a square version of a horizontal project for social media delivery. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to duplicate. Final Cut Pro User Guide 92 2. In the browser, select the project you want to copy. 3. Do one of the following: • Choose Edit > Duplicate Project As. • Control-click the project in the browser, and choose Duplicate Project As. 4. In the window that appears, enter a project name and specify the settings for the duplicate project. If you change the aspect ratio, the Smart Conform checkbox appears. Smart Conform analyzes clips for faces and other areas of visual interest, and then uses the analysis to reframe clips that have a different aspect ratio from the project aspect ratio. 5. If you want Final Cut Pro to automatically reframe clips using Smart Conform, select the Smart Conform checkbox. See Adjust framing with Smart Conform. 6. Click OK. Final Cut Pro creates the new project. If you selected Smart Conform, Final Cut Pro enables overscan view for reframed clips, revealing areas of a clip that extend beyond the edge of the viewer. You can make further framing adjustments manually using the Transform effect. See Resize, move, and rotate clips. Delete items from libraries in Final Cut Pro You can delete unwanted clips and projects. You can also delete an entire event from your library to free up storage space. When you delete a clip or a project from an event, or delete an entire event, the source media files are moved to the Trash. There’s one exception: Media that is being used by other projects in your library always remains in the library. Note: Libraries must contain at least one event. 1. In the Libraries sidebar in Final Cut Pro, select the event you want to delete or delete items from. 2. Do one of the following: • Delete items from the event: Select the clips or projects you want to remove, then choose File > Move to Trash (or press Command-Delete). Note: You can’t select clips and projects at the same time. • Delete the entire event: Choose File > Move Event to Trash (or press CommandDelete). The selected items are deleted. To permanently delete the source media files from your Mac or storage device, empty the Trash. WARNING: After the Trash is emptied, the deleted clips and their associated source media files can’t be restored. Final Cut Pro User Guide 93 View and sort items in the browser Intro to browser views in Final Cut Pro In Final Cut Pro, you can display your clips and projects in the browser in two views: • Filmstrip view: Displays the clips in the selected event as a connected series of thumbnail images. Projects appear as thumbnail images with a superimposed clapboard design. Filmstrip view is useful when you want to visually locate your clips and projects. • List view: Displays a list of your clips and projects with associated file and settings information. Use this view when you want to view or sort clips and projects by data such as duration, creation date, last modified date, rating, keywords, and so on. When you select a clip in list view, a filmstrip for the selected clip appears at the top of the browser. The clip filmstrip is fully interactive, allowing access to start and end points, markers, and keywords. Final Cut Pro User Guide 94 Customize browser views in Final Cut Pro In the Final Cut Probrowser, you can switch between filmstrip view and list view, and customize the appearance and layout of each view. To create and save custom arrangements of columns in list view, see Create and share column sets. Switch between filmstrip view and list view • In Final Cut Pro, click the List View button or the Filmstrip View button in the topright corner of the browser. Customize filmstrip view 1. In Final Cut Pro, click the Clip Appearance button above the browser. 2. Do any of the following: • Adjust the time represented by each thumbnail in a clip’s filmstrip: Drag the Duration slider. Adjusting the Duration slider expands and contracts the amount of detail shown in each clip’s filmstrip. The longer each thumbnail’s duration, the fewer thumbnails each clip displays, and the more clips are displayed in the browser. Final Cut Pro User Guide 95 • Adjust the filmstrip height: Drag the Clip Height slider. • Turn audio waveforms on or off: Click the Waveforms checkbox. Final Cut Pro User Guide 96 When audio waveforms are on, they appear at the bottom of each clip’s filmstrip, increasing the height of all clips in the browser. • Play clips in the browser without interruption: Select the Continuous Playback checkbox. When this checkbox is selected, all clips in the browser play through without interruption (rather than stopping playback at the end of each clip). Alternatively, choose View > Browser > Continuous Playback. Customize list view With the Final Cut Pro browser in list view, do any of the following: • Choose what type of information is displayed: Control-click a column heading in the browser, then choose a type of information to display. • Rearrange columns: Drag a column heading to move the column to a new position. • Sort clips by a category: Click a column heading to sort clips by that category. • View an item’s keywords, rating, or marker text: Click the disclosure triangle to the left of the clip’s name. The disclosure triangle also appears if a portion of the clip is used in a project, and the browser is set to show used media. (To indicate used portions of clips in the browser with an orange line, choose View > Browser > Used Media Ranges.) Sort and group items in the Final Cut Pro browser You can sort clips and projects in the browser so that it’s easier to locate them. Sort and group items in the browser 1. In the Libraries sidebar in Final Cut Pro, select the event whose items you want to sort. Final Cut Pro User Guide 97 2. Click the Clip Appearance button above the browser, then do any of the following: • Group clips by category: Click the Group By pop-up menu and choose a category. To set the sort order, click the pop-up menu again and choose either Ascending or Descending. • Choose how clips are sorted in filmstrip view: Click the Sort By pop-up menu and choose an option. You can sort clips by date, name, take, or duration. To set the sort order, click the pop-up menu again and choose either Ascending or Descending. Note: In list view, click a column heading to sort clips by that category. See Customize list view. Reset the sort order in the browser You can reset the browser sort order to its default state. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the items whose sort order you want to reset. 2. Click the Clip Appearance button above the browser. 3. Click the Group By pop-up menu and choose Ascending, then click the pop-up menu again and choose None. 4. Click the Sort By pop-up menu and choose Content Created, then click the pop-up menu again and choose Ascending. Create and share column sets in Final Cut Pro With the browser in list view, you can save any combination of column settings as a new custom column set. The column settings include available columns, column order, column width, column visibility, and custom metadata fields. You can easily copy column sets to another computer, or share them with friends and colleagues so that the same column sets are available in their browser. Save a column set in the browser 1. In the Final Cut Pro browser in list view, arrange the columns the way you want them to appear in your column set. See Customize list view. 2. Control-click any column heading in the browser, then choose Save Column Set As from the shortcut menu. Final Cut Pro User Guide 98 3. Enter a name for the column set, then click Save. The new column set is added to the shortcut menu, in alphabetical order. Switch between column sets After you create one or more column sets, you can easily switch between them. • In the Final Cut Pro browser in list view, Control-click any column heading, then choose another column set from the shortcut menu. Edit column sets 1. In the Final Cut Pro browser in list view, Control-click any column heading, then choose Edit Available Columns from the shortcut menu. 2. In the Column Set Editor window, do any of the following: • Create a column set: Click the Action pop-up menu in the lower-left corner and choose New Column Set, then enter a name for the new set. • Edit a column set: In the list on the left side of the window, select the set you want to edit, then select the properties you want to include in the set from the Property list. You can also use the Properties pop-up menu and the search field at the top of the window to filter and search for metadata to include in the Property list. You can add any metadata properties to a column set, including custom metadata fields. See View and change clip metadata and Modify metadata views. Note: The Default Column Set can’t be modified. To make a new version of the Default Column Set, edit a duplicate set. • Duplicate a column set: In the list on the left side of the window, select the set you want to duplicate, then click the Action pop-up menu in the lower-left corner and choose Duplicate Column Set. Enter a name for the new set, then click OK. • Delete a column set: In the list on the left side of the window, select the set you want to delete, then click the Action pop-up menu in the lower-left corner and choose Delete Column Set. Restore the default set of columns in the browser • In the Final Cut Pro browser in list view, Control-click any column heading, then choose Default Column Set from the shortcut menu. Share a column set 1. In the Final Cut Pro browser in list view, Control-click any column heading, then choose Reveal in Finder from the shortcut menu. The Column Sets folder, with all the custom column sets you created, opens in the Finder. 2. In the Finder, select the column set file, then choose File > Compress. Note: Compressing the file prevents any change to the column set during transit. 3. Transfer the resulting ZIP file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the ZIP file to open it. 5. In the Finder, press and hold the Option key and choose Go > Library. Final Cut Pro User Guide 99 6. Drag the column set file to the following location in the Library folder: /Users/username/Library/Application Support/Final Cut Pro/Column Sets/ The new column set appears in the shortcut menu when you Control-click any column heading in the browser. Organize clips Rate clips in Final Cut Pro If your clips contain sections that you don’t like or might never want to use in a project— because they’re blurry, for example—you can mark them as rejected. You can easily rate the clips you like and don’t like as you review them. When you’re ready to edit your project, you can focus on your best footage by choosing to display only those clips you marked as favorite. You can also delete your rejected clips’ source media files to free up storage space. Rate clips 1. In the browser in Final Cut Pro, select a range, a clip, or multiple clips you want to rate. 2. Do one of the following: • If you like the selection: Press the F key (or choose Mark > Favorite). In the browser, a green line appears at the top of frames you’ve marked as favorite. • If you don’t like the selection: Press the Delete key (or choose Mark > Reject). A red line appears at the top of frames you’ve marked as rejected. Note: If you chose Hide Rejected from the Filter pop-up menu at the top of the browser, clips marked as rejected disappear from view. See Find clips and projects. Final Cut Pro User Guide 100 Remove ratings from clips 1. In Final Cut Pro, make sure the clips you want to work with appear in the browser. You might need to choose a new option, such as All Clips, from the Filter pop-up menu at the top of the browser so that all the clips you need to access are visible. See Find clips and projects. 2. In the browser, select the clips whose rating you want to remove, and press the U key (or choose Mark > Unrate). The green or red line at the top of the clips disappears. Note: An orange line along the bottom of an event clip indicates that the clip is being used in the current project (the project that is open in the timeline). To turn this view on or off, choose View > Browser > Used Media Ranges. For more information about these markings, see Lines marking event clips. Add keywords to clips in Final Cut Pro You can apply keywords to your clips to help you quickly locate the clips you need to compose your movie. After you apply a keyword to a clip or clip range, the clip or range is marked with a blue line in the browser. (Clips that have analysis keywords, which are automatically applied after certain types of analysis, are marked with a purple line. See Intro to analyzing media.) Final Cut Pro User Guide 101 Additionally, when a keyword is applied to a clip or clip range, a Keyword Collection appears in the Libraries sidebar. A Keyword Collection contains pointers (aliases) to clips tagged with a specific keyword. For example, if you apply the keyword “water” to all clips containing water, you can then select the “water” Keyword Collection in the Libraries sidebar to view all clips containing the “water” keyword in the browser. You can apply one or more keywords to a range within a clip, a whole clip, or a group of clips in an event. Note: If you used project folders in the Project Library in previous versions of Final Cut Pro and you updated those projects to Final Cut Pro 10.1 or later, the projects have keywords reflecting the names of the project folders. Add keywords using the keyword editor 1. In the browser in Final Cut Pro, select a range or one or more clips to which you want to add keywords. 2. To open the keyword editor, click the Keywords button in the toolbar. 3. At the top of the keyword editor, type the keyword or keyword phrase you want to apply to the selection, then press Return. Final Cut Pro User Guide 102 4. Repeat step 3 for each keyword or keyword phrase you want to add to the selection. A blue line appears at the top of the selection in the browser, indicating that keywords have been applied to it. 5. When you’re finished adding keywords, close the keyword editor. Add keywords using keyboard shortcuts To add keyword phrases to your clips using keyboard shortcuts, you must first assign keywords and keyword phrases to the keyboard shortcuts. 1. If the keyword editor isn’t open in Final Cut Pro, click the Keywords button in the toolbar. 2. In the keyword editor, click the disclosure triangle to the left of Keyword Shortcuts to reveal the keyword shortcut fields. 3. Type a keyword or phrase in each shortcut field, then press Return. To reassign a keyboard shortcut, select the shortcut text in the field and type the new keyword. 4. To use a keyboard shortcut, select a range or one or more clips to which you want to add keywords, then press Control and the corresponding number key (1 through 9). Add keywords by dragging clips to Keyword Collections A quick and easy way to add keywords to one or more clips is to drag the clips from the browser to existing Keyword Collections. To create a Keyword Collection, see Add keywords using the keyword editor, above. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips you want to add keywords to. Final Cut Pro User Guide 103 2. In the browser, select the clip or clips that you want to apply the keyword to. 3. Drag the selection to the Keyword Collection in the Libraries sidebar that corresponds to the keyword you created. The keyword is applied to the clips. Instances of the clips appear in the Keyword Collection. View keywords applied to clips In Final Cut Pro, do any of the following: • Quickly identify clips that have keywords: Select an event in the Libraries sidebar. Clips that have one or more keywords appear in the browser marked with a blue line at the top. You can also create a Smart Collection for all clips that have keywords applied. • View all keywords applied to a clip: Choose View > Browser > Skimmer Info (or press Control-Y), then skim the clip in the browser. You can also view a clip’s keywords by selecting the clip in the browser and clicking the Keywords button in the toolbar (or pressing Command-K). The keywords applied to the clip are shown in the keyword editor. • View all the clips that have a specific keyword: Select a Keyword Collection in the Libraries sidebar. The clips with that keyword appear in the browser. Final Cut Pro User Guide 104 Remove all keywords from a selection 1. In the browser in Final Cut Pro, select a range or one or more clips from which you want to remove keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. 2. Choose Mark > Remove All Keywords (or press Control-0). Remove a subset of keywords from a selection 1. In the browser in Final Cut Pro, select a range or one or more clips from which you want to remove specific keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. Each keyword assigned to a clip also appears in the browser in list view. 2. Click the Keywords button in the toolbar (or press Command-K) to open the keyword editor, then select the keyword or keywords you want to remove and press Delete. Tip: To create a Keyword Collection for an entire library, create a library Smart Collection using one or more keywords as the search criteria. Add clip and project notes in Final Cut Pro As you review your clips and projects, you can add and edit notes about them in the browser (or, in the case of timeline clips, in the timeline index). You can quickly find these items later by entering the note text in the search field in the browser or the timeline index, or in the Text field in the Filter window. For information about text searches, see Find clips and projects. Note: You can add notes to each instance of a clip or project. For example, if you copy clips or projects between events or libraries, add a clip from the browser to the timeline, or copy clips within the timeline, each of these clip or project instances (copies) is independent of the others. Add or edit clip and project notes in the browser 1. If the browser isn’t already in list view in Final Cut Pro, click the List View button in the top-right corner of the browser. 2. Select the clip or project for which you want to add or edit notes. Note: Notes are applied to clips and projects as a whole, not to range selections. Final Cut Pro User Guide 105 3. Click the Notes field for the clip, then type or edit the notes for that clip. Add or edit clip notes in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. To open the Clips pane, click the Clips button at the top of the timeline index. 3. If the Notes column isn’t visible in the Clips pane, Control-click a column heading and choose Notes. Final Cut Pro User Guide 106 4. Click the Notes field for the clip, then type or edit the notes for that clip. Organize clips by roles in Final Cut Pro You can organize clips by roles, which are metadata text and color labels assigned to clips. When you import clips (video, audio, or still images), Final Cut Pro automatically assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. You can also create custom roles and subroles, and assign them to clips. You can use roles in Final Cut Pro to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems) for distribution, broadcast, audio mixing, or postproduction. Roles have distinct colors that let you instantly recognize clips from particular roles in the browser and the timeline. You can view and reassign roles in the browser, the timeline, or the inspector. For example, you could easily identify all your dialogue clips and play them back in isolation from other audio clips. See View and reassign default roles. Lines marking event clips in Final Cut Pro In Final Cut Pro, lines appear on clips and ranges in the browser to help you see at a glance if they’re marked as favorite or rejected, have keywords applied, or are being used in the current project. The color of the line indicates the type of marker. To turn marker lines on or off, choose View > Browser > Marked Ranges. Color Description More information A green line indicates that you’ve marked a clip as favorite. See Rate clips. A red line indicates that you’ve marked a clip as rejected. See Rate clips. Final Cut Pro User Guide 107 Color Description More information A blue line indicates that a clip has manually applied keywords or keywords imported with the media file. See Add keywords. A purple line indicates that a clip has one or more analysis keywords. See View analysis keywords. An orange line along the bottom of an event clip indicates that the clip is being used in the project currently open in the timeline. See Intro to adding clips. To turn this view on or off, choose View > Browser > Used Media Ranges. Tip: To select a clip range marked with a line, click the line. Find items using search, keywords, and Smart Collections Find clips and projects in Final Cut Pro In Final Cut Pro, you can search for media in the browser in several ways: • Quickly filter clips: Use the Filter pop-up menu to locate clips by rating (for example, clips you’ve rated as favorite). You can also locate unused clips and clips with neither ratings nor keywords. • Search notes, names, or markers: Use the browser search field to quickly find clips and projects by text in notes, names, or markers. • Search using a combination of criteria: Use the Filter window to perform complex searches for clips and projects, also known as weighted searches. You can search by a wide variety of criteria, including clip or project name, rating, media type, used media, excessive shake, keywords, the presence of people, format information, date, roles, and item type (audition, synced clip, compound clip, multicam clip, layered graphic, or project). Note: You can also use the timeline index to search and filter items in the timeline. See Search for items in the timeline index. Filter clips quickly by rating 1. In the Libraries sidebar in Final Cut Pro, select a library or one or more events or folders you want to filter by rating. Final Cut Pro User Guide 108 2. Click the Filter pop-up menu at the top of the browser and choose an option. • All Clips: Shows all clips in the event. • Hide Rejected: Shows all clips or range selections except those you’ve rated as rejected. • No Ratings or Keywords: Shows only the clips or range selections without ratings or keywords. • Favorites: Shows only the clips or range selections you’ve rated as favorite. • Rejected: Shows only the clips or range selections you’ve rated as rejected. • Unused: Shows only the clips or range selections that are not used in a project, compound clip, multicam clip, or synced clip. Search for clips or projects by text in notes, names, or markers 1. In the Libraries sidebar in Final Cut Pro, select a library or one or more events or folders you want to search. 2. Click the Search button at the top-right corner of the browser. 3. In the search field, enter the text you want to search for. As you type, the search results update in the browser. By default, Final Cut Pro searches text in notes, clip and project names, and markers. 4. If you want to search only notes, names, or markers, click the Search button at the left side of the search field and choose an option. Final Cut Pro User Guide 109 Search for clips and projects by a combination of criteria You can search for clips and projects by multiple search criteria. For example, you can search for video clips or projects that are rated as favorite and contain the text “exterior” or “wide shot” in their metadata. 1. In the Libraries sidebar in Final Cut Pro, select a library or events or folders you want to search. 2. Click the Search button at the top-right corner of the browser. 3. Click the Filter button to the right of the search field. 4. In the Filter window, click the Add Filter pop-up menu and choose search criteria. • Text: Find clips or projects by their name or by text in notes and markers. You can add multiple Text filters to search using more than one word or phrase, as well as exclude specific words and phrases from the search. • Ratings: Find clips based on the rating (favorite or rejected) assigned to them. See Rate clips. • Markers: Find clips by markers, including descriptive text and whether to-do markers are complete or incomplete. See Edit and move markers. • Media Type: Find clips by the type of source media file, such as video, audio, or still image. • Type: Find items by their type, such as audition, synced clip, compound clip, multicam clip, layered graphic, or project. • Used Media: Find clips based on whether they’re used in a project, compound clip, multicam clip, or synced clip. • Keywords: Find clips by any of the keywords that you’ve assigned to them. You can select one or more keywords to search for. See Add keywords. • People: Find clips that Final Cut Pro has identified as having people in them. Options include One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. See Video analysis options. • Format Info: Find clips or projects using format information, such as video frame rate or scene number. Final Cut Pro User Guide 110 • Media Representation: Find clips by the available media representation: Original, Optimized, or Proxy. • Date: Find clips or projects by either the date the item was created or the date the media was imported into Final Cut Pro. • Roles: Find clips by their assigned roles. See Intro to roles. To remove a filter, click the Remove button to the right of the filter. To exclude a filter from your search without removing it, deselect its checkbox. 5. Further refine your search by choosing items from the pop-up menus for the filters you’ve added. 6. Do one of the following: • Specify that an item must match at least one of the search criteria or keywords: Click the pop-up menu in the upper-left corner of the Filter window, then choose Any. • Specify that an item must match all the search criteria and keywords: Click the pop-up menu in the upper-left corner, then choose All. The items that match the search criteria are displayed in the browser. If you wish, you can save your search results as a Smart Collection, which gathers items automatically based on the search criteria. To clear the search criteria, click the Reset button in the browser search field. Find clips using both searching and filtering In Final Cut Pro, performing a search and then filtering the results in the browser by rating is a powerful way to quickly find clips. This is also the best way to find specific clips that you haven’t rated and compare them to clips you have rated. 1. In the Libraries sidebar in Final Cut Pro, select the library, events, or folders you want to search. 2. Search for clips using a combination of search criteria, as described above. However, don’t apply a ratings filter using the Filter window. 3. Filter clips by rating, as described above. 4. Repeat step 3 until you find all the clips you’re looking for. Create Smart Collections in Final Cut Pro When you search for clips or projects in a library or an event using the Filter window, you can save your results by creating a new Smart Collection that gathers items matching the search criteria. Anytime a new item that matches the Smart Collection’s search criteria is brought into the event or library, the new item is automatically added to the Smart Collection. A Smart Collection created from a library appears in the library’s Smart Collections folder in the Libraries sidebar. A Smart Collection created from an event appears below the event. Final Cut Pro User Guide 111 Clips and projects that appear in Smart Collections are not duplicates. Smart Collections filter items in an event or library to help you focus on the items you need to use for a specific task. Create a Smart Collection based on search criteria 1. In the Libraries sidebar in Final Cut Pro, select the library or one or more events or folders you want to search. Note: If you select multiple events or folders, Final Cut Pro creates a library Smart Collection in the Smart Collections folder for that library. 2. Do one of the following: • Use the Filter window to search for clips or projects based on specified criteria, then click the New Smart Collection (or New Library Smart Collection) button in the Filter window. • Choose File > New > Smart Collection or File > New > Library Smart Collection (or press Option-Command-N). If you create the Smart Collection using this method, you need to double-click the Smart Collection to open the Filter window and enter your search criteria. A new, untitled Smart Collection appears in the event or in the library Smart Collections folder. 3. Type a name for the Smart Collection, then press Return. Change the contents of a Smart Collection 1. In Final Cut Pro, double-click the Smart Collection whose contents you want to change. The Filter window for the Smart Collection appears. 2. Revise the search criteria in the Filter window. 3. When you’re finished specifying search criteria, close the Filter window. Note: If you modify a clip’s ratings or keywords in such a way that the clip no longer matches a Smart Collection’s search criteria, the clip is removed from the Smart Collection. Final Cut Pro User Guide 112 Delete a Smart Collection 1. In the Libraries sidebar in Final Cut Pro, select the Smart Collection you want to delete. 2. Choose File > Delete Smart Collection (or press Command-Delete). The Smart Collection is removed from the library, but its associated items (the clips and projects that appeared in it) are unaffected. Tip: To create a Keyword Collection for an entire library, create a library Smart Collection using one or more keywords as the search criteria. Organize Smart Collections in Final Cut Pro You can organize Keyword Collections and Smart Collections in events using folders, and you can copy collections between folders and between events. Additionally, every library you create comes with a Smart Collections folder containing a default set of Smart Collections: • All Video • Audio Only • Favorites • Projects • Stills You can rename any collection and adjust its search criteria. You can also add or delete collections from the library Smart Collections folder, or delete the entire folder. Organize collections with folders 1. In the Libraries sidebar in Final Cut Pro, select the event containing the collections you want to organize, then choose File > New > Folder (or press Shift-Command-N). 2. Type a name for the new folder that appears within the event, then press Return. 3. Select the Smart Collections and Keyword Collections you want to organize, then drag them into the new folder. You can show and hide the contents of the folder by clicking the disclosure triangle to the left of the folder’s name. Final Cut Pro User Guide 113 Copy or move collections between events, libraries, and folders In Final Cut Pro, do any of the following: • Copy a Smart Collection or Keyword Collection to another event, library, or folder: Drag the collection to the new location. A copy of the collection appears in the destination event, library, or folder, and the collection’s search criteria are applied to the items at that location. • Move a Smart Collection or Keyword Collection to another event, library, or folder: Drag the collection to the new location to create a copy there. To delete the original collection, select it and choose File > Delete Keyword Collection (or press Command-Delete). The collection appears in the destination event, library, or folder, and the collection’s search criteria are applied to the items in the new location. Restore a Final Cut Pro library Final Cut Pro makes automatic library backups at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. By default, Final Cut Pro saves backups to the Final Cut Pro Backups folder in the Movies folder, but you can change the backup location. See Set storage locations. Final Cut Pro automatically deletes library backups that are more than several days old. 1. In the Libraries sidebar in Final Cut Pro, select the library you want to restore. 2. Choose File > Open Library > From Backup. 3. Click the “Restore from” pop-up menu and choose a backup from a specific time and date, or click Other and navigate to a different backup file to open. 4. Click Open. The backup is added as a library in the Libraries sidebar. Note: The backups are standard Final Cut Pro library files, so you can also open them by double-clicking them in the Finder. See Intro to managing libraries. Final Cut Pro User Guide 114 Edit your project Intro to editing in Final Cut Pro The term video editing refers both to broader stages of a project workflow and to very specific manual tasks that you do with clips in a project timeline. • Create a project: To create a movie in Final Cut Pro, you first create a project, which provides a record of your editing decisions and the media you use. See Create a new project. • Make selections and add clips to the timeline: Adding and arranging clips in your project is the fundamental step in creating a movie with Final Cut Pro. You move and reorder clips in the timeline. See Intro to adding clips, Arrange clips in the timeline, and Intro to audio. • Cut and trim clips: Final Cut Pro provides a wide variety of tools for adjusting the start and end points of clips in the timeline and for controlling pacing from one shot to the next. See Intro to trimming. • Further refine and adjust your project: Final Cut Pro provides many advanced editing tools that allow you to finish a highly polished movie with ease. See the topics in the advanced editing section. • Add effects and color correction: Finishing touches include visual effects and color correction. See Intro to effects and Intro to color correction. Final Cut Pro User Guide 115 Create and manage projects Create a new project in Final Cut Pro To create a movie in Final Cut Pro, you first create a project, which provides a record of your editing decisions and the media you use. When you create a new Final Cut Pro project, you do the following: • Name the project. • Specify the event where the project is stored. Often, you store projects in events that contain the media used to create the project. When you drag media into the timeline from the Finder, or when you access media in the Photos and Audio sidebar and drag it to the timeline, that media is automatically located in the same event as the project. Optionally, you can also set the starting timecode and define the video, audio, and render properties for the project. After creating your project, you add clips to it from an event in the library. Note: If you’re creating a project and you haven’t yet imported media into Final Cut Pro, you should do so. See Intro to importing media. 1. In the Libraries sidebar in Final Cut Pro, select the event in which you want to create the project. 2. Choose File > New > Project (or press Command-N). Tip: You can automatically create a project that has the video properties of a specific clip, without having to enter the project settings manually. In the browser, Control-click a clip and choose New Project, then enter a project name and click OK. 3. In the window that appears, type a name for the project in the Name field. 4. If you want to store the project in an event other than the selected event, click the In Event pop-up menu and choose a different event. 5. If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value in the Starting Timecode field. Note: If the automatic settings are shown, you can click OK to create a new project at this point. You can add a clip to the new (empty) project timeline, and, if the clip properties match a built-in preset, Final Cut Pro sets the project properties to match the properties of the clip. Final Cut Pro User Guide 116 6. If you want to further customize settings for your project, click Use Custom Settings. Note: Final Cut Pro shows the automatic settings by default, but it retains the settings you used last, so this step may be unnecessary. 7. If you want to make any changes to the project’s video or audio properties, use the pop-up menus in the custom settings view. 8. Click OK. The new project appears in the browser with the name you gave it in step 4. You can now add clips from the browser and begin to edit your project in other ways, adding titles, special effects, background music, sound effects, and more. You can change a project’s properties at any time. See Modify a project’s settings. Open and close projects in Final Cut Pro Open a project 1. In the Libraries sidebar in Final Cut Pro, select the event containing the project you want to open. 2. Locate the project you want to open and double-click it. Note: You may have to scroll up to the top of the event to see the project. The project appears in the timeline. Close a project In Final Cut Pro, do one of the following: • Choose File > Close [project]. • Click the down arrow at the top of the timeline, then choose Close [project]. Close all projects in the timeline history During the course of an editing session, you might open multiple projects and switch between them using the arrow buttons at the top of the timeline. Or you might navigate compound clip levels using the arrow buttons. You can close all projects in the timeline history other than the currently visible one. In Final Cut Pro, do one of the following: • Choose File > Close Other Timelines. • Click the down arrow at the top of the timeline, then choose Close Other Timelines. Modify a project’s settings in Final Cut Pro As your project evolves, you may decide to change its settings. In most cases, Final Cut Pro manages project settings automatically based on the properties of the first clip you add to a project, but you can change almost all settings of an existing project. If you must modify the project settings, choose video and audio project settings based on how you intend to share your final movie with your audience. Final Cut Pro User Guide 117 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to modify, then select the project (or double-click it to open it in the timeline). 2. Do one of the following: • Choose Window > Project Properties (or press Command-J). • Click the Inspector button in the toolbar. 3. In the Project Properties inspector, click the Modify button in the top-right corner. 4. In the window that appears, change the settings as appropriate. For a detailed list of all project settings, see Final Cut Pro project settings. 5. Click OK. Create square or vertical versions of a project in Final Cut Pro Popular social media platforms and websites allow for (and sometimes require) video clips with a variety of aspect ratios—such as square or vertical—for playback in an app or on the web. A relatively new post-production task is creating multiple versions of a project with different aspect ratios. With Final Cut Pro, you can repurpose projects that have standard horizontal aspect ratios, such as those for film or TV, to create deliverables in all shapes and sizes, including square or vertical. In the past, reframing each clip in a project for a new aspect ratio was a manual and timeconsuming process. Final Cut Pro now speeds up this process with the Smart Conform feature, which analyzes the content of each clip for faces or other areas of visual interest, and automatically reframes clips that have a different aspect ratio from the project aspect ratio. You can use Smart Conform to quickly create a square or vertical version of a horizontal or widescreen project, and then make manual framing adjustments later. 1. In Final Cut Pro, open an existing horizontal project. Final Cut Pro User Guide 118 2. Select the project in the browser, and do one of the following: • Choose Edit > Duplicate Project As. • Control-click the project in the browser, and choose Duplicate Project As. 3. In the window that appears, enter a project name and specify the settings for the duplicate project. (Choose Vertical or Square from the Video Format pop-up menu.) When you change the aspect ratio, the Smart Conform checkbox appears. 4. To have Final Cut Pro analyze clips in the project and automatically reframe the clips whose aspect ratio differs from the project aspect ratio, select the Smart Conform checkbox. See Adjust framing with Smart Conform. 5. Click OK. Final Cut Pro creates the new project. If you selected Smart Conform, Final Cut Pro enables overscan view for reframed clips, revealing areas of a clip that extend beyond the edge of the viewer. You can make further reframing adjustments manually using the Transform effect. See Resize, move, and rotate clips. You can add a custom overlay as an onscreen guide when placing text and graphics in the frame. Custom overlays are similar to title-safe and action-safe overlays, except that they can be customized to the needs of your project. This makes them useful for the various vertical and square aspect ratios common in social media. See Show overlays in the viewer. Final Cut Pro project settings You can change almost all settings of an existing Final Cut Pro project. See Modify a project’s settings. Project Name • Project Name: Type a name for the project. Starting Timecode • Starting Timecode: If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value. Final Cut Pro User Guide 119 Video • Format: Choose the video format (a specific method of encoding the video) or an aspect ratio. Note: If you choose 360° from the Format pop-up menu, the Projection Type pop-up menu appears. See Intro to 360-degree video. • Resolution: Choose the frame size of the video. Available frame sizes are dependent on the format. To enter an arbitrary frame size, click the Format pop-up menu and choose Custom. • Rate: Choose the frames per second (fps). Note: Unless the timeline is completely empty, you can’t change the frame rate of an existing project. Rendering • Codec: Choose the codec to use for your project’s background rendering. • Color Space: Choose the color space for your project, including the color space of the project’s render files. The color space you choose should be the color space in which you intend to export for final delivery. When the color-processing setting in the Library Properties inspector is set to Wide Gamut HDR, wide-gamut settings appear in this menu. For standard formats, the rendering color space is chosen for you based on other settings. For example, setting the video format to NTSC SD automatically sets the color space to Standard - Rec. 601 (NTSC). Note: This setting also determines the color space of the images sent to video scopes, the color space used to detect out-of-gamut colors, the color space of files exported using the Export File share option, and the color space of images that appear on your computer display. Audio • Channels: Choose whether to present the audio as multichannel surround sound or as stereo. • Sample Rate: Choose the audio sample rate for your project (the number of times a signal is measured—or sampled—per second). A higher sample rate produces higherquality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. The sample rate you choose depends on the source material you’re working with and the final destination of your audio. Save and back up projects in Final Cut Pro Final Cut Pro automatically saves all the changes you make as you work on a project, which means you never have to save changes manually. Also, you can undo all of your changes up to the last time you quit and reopened Final Cut Pro by choosing Edit > Undo (or pressing Command-Z). You can create multiple versions of a project by duplicating it. See Duplicate projects and clips. Changes you make to a clip in a project do not affect the clip’s source file. Thus, if you’ve made a lot of changes to a clip but want to start fresh, you can easily restore the clip to its original state by adding a new copy of the clip (located in an event in the library) to your project. Final Cut Pro User Guide 120 In addition, Final Cut Pro makes automatic backups of your library at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. See Restore a library. Copy a Final Cut Pro project to another Mac You can copy or move a project to another Mac to continue editing the project or to make a backup. To copy a project to another Mac, you must copy the library that contains the project. Final Cut Pro libraries combine your editing projects, video clips, and associated metadata into a single package that’s easy to transfer to another Mac. If your library contains multiple projects, you can isolate the project and its media files before copying. If you already have copies of the project’s media on the other Mac, you can copy just the library file containing the project, without the media files. Tip: If the project you want to copy is the only project in the library, you can simply copy the library. See Transfer a library to another Mac. Isolate a project and its media files, then copy them to another Mac If the Final Cut Pro project you want to copy is in a library with multiple projects and events, you can separate the project and its media files (or the entire event that contains it) from the rest of the library. This simplifies and speeds up copying the project to another Mac. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to copy. 3. Do one of the following; • Copy just the project and its media: Select the project. • Copy the project and any other projects or media in the same event: Select the event. 4. Choose File > Copy [item] to Library > New Library. 5. Enter a name for the new library, choose a location for it, and click Save. 6. If your selection contains optimized or proxy media, select settings for copying optimized or proxy media in the window that appears, then click OK. 7. In the Libraries sidebar, select the new library that you just created. 8. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 121 9. In the Media section, make sure the media storage location is set to In Library, then click Consolidate. See Set storage locations. 10. If your project contains effects, transitions, titles, and generators that were created or customized in Motion, make sure the Motion Content storage location is set to In Library, then click Consolidate. Note: As an alternative, you could manually back up and copy the Motion Templates folder located in your Movies folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it’s not managed within the Final Cut Pro library. 11. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 12. In the Finder, drag the library file to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 13. When copying is complete, eject the external storage device and disconnect it from your Mac. 14. Connect the external storage device to the new (destination) Mac. 15. Drag the library file to the folder on the new Mac where you want to store the file. 16.To open the library, double-click its icon. Copy a project to another Mac without duplicating its media files If there are identical copies of your project’s source media files (and any effects, transitions, titles, and generators that were created or customized in Motion) on both the original (source) Mac and the new (destination) Mac, you can copy the relatively small project file only. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the library that contains the project you want to copy. 3. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 4. In the Storage Locations section, click Modify Settings if either Media or Motion Content is set to In Library. 5. In the window that appears, click the Media pop-up menu and choose a folder outside the library in which to store the media, then click Choose. Final Cut Pro User Guide 122 6. Click the Motion Content pop-up menu and choose “In Motion Templates folder,” then click OK. See Set storage locations. 7. In the Media section of the Library Properties inspector, click Consolidate. Final Cut Pro moves the media files from the library file to the external storage location you chose. 8. In the Motion Content section of the Library Properties inspector, click Consolidate. Final Cut Pro moves the Motion Content files from the library file to the Motion Templates folder located in your Movies folder. 9. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 10. In the Finder, drag the library file (which no longer contains any media files) to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 11. When copying is complete, eject the external storage device and disconnect it from your Mac. 12. Connect the external storage device to the new (destination) Mac. 13. Drag the library file to the folder on the new Mac where you want to store the file. 14.To open the library, double-click its icon. Note: You may need to relink clips to media files or reset the library storage location on the new Mac. See Relink clips to media files and Set storage locations. If a missing media alert icon appears in the Libraries sidebar, but you can’t locate any offline clips, click the Filter pop-up menu at the top of the browser and choose All Clips. All clips (including the offline ones) become visible in the browser. See Find clips and projects. To move a project to another Mac rather than copying it, follow the instructions for copying a project, then delete the project from the original Mac. Select clips and ranges Selections and filmstrips in Final Cut Pro A fundamental step in editing a video project is choosing what you want to include in your final movie. In Final Cut Pro, you indicate what clips or portions of clips you want to act on by making a selection. Final Cut Pro provides a variety of powerful tools for making selections with both speed and precision, including filmstrips, which are a connected series of thumbnail images. Your video clips appear as filmstrips in the timeline (where you build projects) and in the browser (where your source media is displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. Final Cut Pro User Guide 123 When you add clips from the browser to a project in the timeline, you can add one or more whole clips, or you can add a range within a clip. Then you can fine-tune the clips individually in the timeline, adding video effects to them, for example, or inserting transitions between them. You can adjust the appearance of filmstrips in the browser and the timeline so that it’s easier to make selections. For example, expanding the width of a filmstrip (by showing shorter durations per thumbnail) helps you make more precise selections. See Customize filmstrip view. You can also adjust the filmstrip appearance in the timeline to make it easier to view and select audio waveforms. Select clips in Final Cut Pro Clips represent your video, audio, and graphics files and allow you to work with your media in Final Cut Pro without changing the files themselves. To add clips to your project, rearrange them, or trim them, you first need to select them. You can select a single clip or multiple clips at a time. Selecting multiple clips allows you to move them as a group within your project, or from one event to another. It’s also useful if you’ve made adjustments to a clip and you want to copy effects and attributes between clips. Final Cut Pro User Guide 124 Select an entire clip in the browser 1. In the Libraries sidebar in Final Cut Pro, select an event. 2. In the browser, do any of the following: • Click the clip once. • Move the skimmer (or the playhead) over the clip, then press X. Note: This results in a range selection that matches the boundaries of the clip. • Press the Up Arrow key or Down Arrow key to move the selection to a neighboring clip. • Option-drag from the start point to the end point of the clip. Note: All selections in the browser are technically range selections (with adjustable start and end points). Select an entire clip in the timeline 1. In Final Cut Pro, open an existing project. 2. In the timeline, do any of the following: • Click the clip once. • Move the skimmer (or the playhead) over the clip, then press X. Note: This results in a range selection that matches the boundaries of the clip. • Move the skimmer (or the playhead if skimming is turned off) over the clip you want to select, then press C. This method selects the clip in the primary storyline. Connected clips and storylines are attached to clips in the primary storyline, and they appear above and below the primary storyline. To select a connected clip or storyline with this keyboard shortcut method, position the pointer on the connected clip, then press C. See Connect clips and Add storylines. A yellow border appears around the clip, indicating that it’s selected. Note: A timeline clip selection (shown above) is different from a timeline range selection, which has visibly distinct range handles for adjusting the selection start point and end point. See Select ranges. Select multiple clips in the browser or the timeline In Final Cut Pro, do any of the following: • Select a number of individual clips: Hold down the Command key as you click the clips you want to select. Note: Command-clicking a browser clip with preexisting ranges selects the ranges rather than the whole clip. Final Cut Pro User Guide 125 • Select all clips and ranges in the browser or the timeline: Click the browser or timeline to make it active, then choose Edit > Select All (or press Command-A). • Select multiple clips by dragging: Drag a selection rectangle over the timeline or event clips you want to select. Deselect clips in the browser or the timeline In Final Cut Pro, do any of the following: • Deselect a single clip: Command-click the clip or click outside it (or select a different clip). • Deselect multiple clips: Hold down the Command key and click the clips you don’t want selected. • Deselect all clips and ranges: Choose Edit > Deselect All (or press Shift-Command-A). • Deselect all clips and clear all selected ranges in the browser: Press Option-X. Select ranges in Final Cut Pro Instead of selecting whole clips, you can select a range within any clip in the timeline or the browser. In the timeline, you can also select a range that spans multiple clips. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range selection start and end points by dragging either side of the selection. You can also create multiple range selections in one or more clips in the browser. Note: This illustration shows a timeline range selection. Browser range selections have straight range handles. Final Cut Pro User Guide 126 Select a range in the browser 1. In the Libraries sidebar in Final Cut Pro, select an event. 2. In the browser, do any of the following: • Drag across any clip’s filmstrip. A yellow border appears around the range you selected. If the filmstrip wraps onto two lines, you can select a range extending over the break simply by continuing to drag across the break. When you reach the edge, the pointer jumps to the next line. Tip: Option-drag across any clip’s filmstrip with existing ranges to replace those ranges with a new range. • Use the I and O keys to set the range selection start and end points. See Set a range start point or end point, below. • Move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro sets the range selection start and end points at the clip start and end points. • Click a marker line at the top of a clip. These marker lines can indicate any of the following: clips marked as favorite (green) or rejected (red), manually applied keywords (blue), or analysis keywords (purple). Select a range in the timeline 1. In Final Cut Pro, open an existing project. 2. In the timeline, do any of the following: • Click the Tools pop-up menu in the top-left corner of the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . Drag the Range Selection tool across one or more clips to select a range. To adjust the range selection start and end points, drag the range handles on either side of the range. Tip: To temporarily switch to the Range Selection tool, hold down the R key. When you release the R key, the tool reverts to the previously active tool. • Use the I and O keys to set the range selection start and end points. See Set a range start point or end point, below. Final Cut Pro User Guide 127 • Move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro sets the range selection start and end points at the clip start and end points. Tip: To use this keyboard shortcut with connected clips or clips in a connected storyline, position the pointer on the clip, then press X. Set a range start point or end point In the Final Cut Pro browser or timeline, do any of the following: • Set the start point: Position the skimmer (or the playhead, if skimming is turned off) where you want the selection to start, then choose Mark > Set Range Start (or press I). To remove the range start point, press Option-I. • Set the end point: Position the skimmer (or the playhead, if skimming is turned off) where you want the range to end, then choose Mark > Set Range End (or press O). To remove the range end point, press Option-O. • Set the range start point or end point while a clip or your project is playing: Press the Space bar to start playback, then press the I or O key when you want to set the start or end point. Tip: In the browser, you can press Shift-Command-I and Shift-Command-O to set multiple ranges during playback. If you’re using the Blade, Trim, and Range Selection tools in the timeline or in the precision editor, you can use the I and O keys to set selection start and end points in a connected clip or storyline, as well as in clips underneath connected clips and storylines. Move the pointer directly over a clip and press I to set a selection start point, or press O to set a selection end point. See Cut clips in two, Make roll edits, and Use the precision editor. Extend or shorten the range selection In the Final Cut Pro browser or timeline, do any of the following: • Adjust where the range starts or ends: Drag the left or right edge of the yellow selection border. • Reset the start point or end point for a range within the same event clip or project: Move the skimmer, then press I or O. If the skimmer is not present, you can turn on skimming. Tip: You can also press the I or O key while a clip is playing back. • Extend or shorten a range within an event clip: Move the skimmer to any frame that you want the range to begin or end with, then hold down the Shift key and click (or drag). • Extend or shorten a range using timecode: Choose Modify > Change Duration (or press Control-D), then enter a new duration using your keyboard. As you type, the duration value appears in the timecode display below the viewer. (This method works with single range selections only.) Set the range selection to match the boundaries of the clip • In the Final Cut Pro browser or timeline, move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro User Guide 128 Final Cut Pro sets a range selection from the start point to the end point of the clip. Any preexisting ranges are removed. Clear ranges You can remove one or more ranges from the browser or the timeline. Note: This operation does not affect the clip media in either the browser or the timeline. In the Final Cut Pro browser or timeline, do any of the following: • Remove an individual range in an event: Option-click the range. • Remove a range in the timeline: Click outside of the range, or select a different range. • Clear one or more ranges in the browser or the timeline: Select the range or ranges, then choose Mark > Clear Selected Ranges (or press Option-X). Selected ranges have a thick yellow border. Unselected ranges (available only in the browser) have a thin orange border. • Remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, then choose Mark > Clear Selected Ranges (or press Option-X). Set multiple ranges in the Final Cut Pro browser In the browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. For example, you might set multiple ranges in a long event clip, and then deselect some of the ranges before adding all of the selected ranges to the timeline at once. Note: Selected ranges have a thick yellow border. Unselected ranges have a thin orange border. Editing commands operate on yellow selections only. Note: The commands described in this section require the browser to be the active portion of the Final Cut Pro main window. You can make the browser active by moving the pointer over it or clicking it. When the browser is active, a blue line appears at the top. Set multiple ranges in an event clip 1. In the Final Cut Pro browser, select a range within a clip. Final Cut Pro User Guide 129 2. To set an additional range, do one of the following: • Command-drag in a different section of the clip. • Move the skimmer (or the playhead) to the frame where you want the additional range to start, then press Shift-Command-I. Move the skimmer or the playhead to the frame where you want the additional range to end, then press Shift-Command-O. Note: These keyboard shortcuts also work during playback, so you can set additional ranges on the fly. • Option-drag over or within existing ranges to replace them with a new range. • Command-click a marker line at the top of a clip. These marker lines can indicate any of the following: clips marked as favorite (green) or rejected (red), manually applied keywords (blue), or analysis keywords (purple). The additional range selection appears in the clip. To remove a range selection, Option-click it. For more ways to remove ranges from event clips, see Remove ranges from clips in an event, below. Set multiple ranges in event clips during playback You can set multiple ranges in clips in the browser during playback. 1. In Final Cut Pro, play back a clip in the browser. 2. While the clip is playing, do any of the following: • Add a range start point: Press Shift-Command-I. • Add a range end point: Press Shift-Command-O. To set multiple ranges in the same clip, repeat these keyboard shortcuts while continuing playback. Select and deselect ranges and clips in an event You can set, select, or deselect multiple ranges within event clips or within events. Important: Editing commands operate on yellow selections only. Editing commands ignore orange (unselected) ranges. 1. In Final Cut Pro, set multiple ranges in one or more event clips. Final Cut Pro User Guide 130 2. Do any of the following: • Select an individual range: Click the range. • Select or deselect a range: Command-click the range. • Select all ranges in a clip: Click an area of the clip that has no range. • Select all ranges and clips in the current event: Choose Edit > Select All (or press Command-A). The ranges (and all clips with no ranges) are selected with a yellow border. • Deselect all ranges and clips in the current event: Choose Edit > Deselect All (or press Shift-Command-A). The ranges turn orange. Remove ranges from clips in an event You can remove individual ranges, multiple ranges, or all ranges from the current event. 1. In Final Cut Pro, set multiple ranges in one or more event clips. 2. Do any of the following: • Remove an individual range in an event: Option-click the range. • Remove selected ranges in an event: Select the ranges you want to remove, then choose Mark > Clear Selected Ranges (or press Option-X). • Remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, then choose Mark > Clear Selected Ranges (or press Option-X). Navigate between selections in an event 1. In Final Cut Pro, set multiple ranges in one or more event clips. 2. Do any of the following: • Go to the start of the range selection: Choose Mark > Go to > Range Start (or press Shift-I). Repeat this command to go to the start of the previous range selection, or to the start of the clip. • Go to the end of the range selection: Choose Mark > Go to > Range End (or press Shift-O). Repeat this command to go to the end of the next range selection, or to the end of the clip. • Select the previous clip (or its ranges): Press the Up Arrow key. To add to the selection, press Shift-Up Arrow. • Select the next clip (or its ranges): Press the Down Arrow key. To add to the selection, press Shift-Down Arrow. Final Cut Pro User Guide 131 Add and remove clips Intro to adding clips in Final Cut Pro You build a movie project by adding clips to the timeline in a chronological arrangement. To suit your particular editing style or need, you can choose from a wide variety of tools and techniques for adding clips. You can change the arrangement of the clips in the timeline at any time. In Final Cut Pro, you can edit your projects without worrying about maintaining clip connection or sync. For example, when you drag a clip into the timeline, Final Cut Pro automatically rearranges the timeline to fit each new clip without disturbing your existing work. This is true for all kinds of clips: video, audio, titles, generators, still images, and so on. You can use clips from multiple events in a single project. You can also add clips from your photo and music apps, the collections of media (such as titles and sound effects) that come with Final Cut Pro, and the Finder. Deleting clips from the timeline does not remove the source clips from your events, your other apps, the Final Cut Pro media collections, or the Finder. Connected clips and storylines remain attached to, and synced with, clips in the primary storyline until you explicitly move or remove them. Final Cut Pro User Guide 132 In the browser, an orange line along the bottom of an event clip indicates that the clip is being used in the current project (the project open in the timeline). To turn this view on or off, choose View > Browser > Used Media Ranges. Drag clips to the timeline in Final Cut Pro You can add clips to the timeline by dragging them from the browser or from the Finder. Drag clips from the browser You can show media in the browser by selecting items in the Libraries sidebar, the Photos and Audio sidebar, or the Titles and Generators sidebar. 1. In Final Cut Pro, open a project in the timeline. 2. To open the sidebar for the type of media you want to add, do one of the following: • Click one of the buttons in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). Final Cut Pro User Guide 133 • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 3. In the sidebar you opened, select the item containing the media you want to add to your project. The contents of the selected item appear in the browser. 4. Drag one or more clips from the browser to the timeline. Tip: You can add one clip to your project at a time, but it may be easier to add a number of clips to the project at once and then rearrange them in the timeline. Drag files from the Finder 1. In Final Cut Pro, make sure to open the correct project in the timeline. 2. Arrange the windows onscreen so that you can see both the Final Cut Pro main window and the files in the Finder. 3. Drag the files from the Finder to the timeline. Tip: You can also copy one or more video files in the Finder and paste them into the timeline. Depending on where you drag the clips in the timeline, your actions may result in an append edit, an insert edit, a connect edit, or a replace edit. Final Cut Pro automatically adjusts surrounding clips to fit in place around any clips you’ve dragged. Note: If you add clips to the timeline from the Finder, the Libraries sidebar, or the Photos and Audio sidebar, you’re effectively importing the media into the event that contains the current project. In this case, Final Cut Pro applies the default optimization and analysis settings to the new clips. You can change these settings in the Import pane of Final Cut Pro preferences. When you add still images to the timeline, they have a default duration of 4 seconds. You can change this duration in the Editing pane of Final Cut Pro preferences. Append clips to your project in Final Cut Pro A simple way to add a clip to your project is an append edit, in which you add one or more clips to the end of a project or storyline. 1. In Final Cut Pro, select one or more clips in the browser. 2. To add the clips to the timeline, do one of the following: • Choose Edit > Append to Storyline (or press E). • Click the Append button in the top-left corner of the timeline. If there’s no selection, the clip appears at the end of the primary storyline in the timeline. If a storyline is selected, the clip appears at the end of the selected storyline. Final Cut Pro User Guide 134 Insert clips in Final Cut Pro An insert edit places the source clip so that all clips after the insertion point are moved later (or rippled) in the timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. You might use insert edits when you want to add a new shot in the beginning or the middle of your project. You can also use an insert edit to interrupt the action in an existing clip with the action in the newly inserted clip. The action in the original clip then resumes after the inserted clip. Note: You can use three-point editing to make insert edits. See Intro to three-point editing. Insert browser clips in the timeline 1. In Final Cut Pro, select one or more clips in the browser. 2. Move the playhead to the point in the primary storyline or in a selected storyline (or make a range selection) where you want to insert the clip. 3. Do one of the following: • Choose Edit > Insert (or press W). Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the edit occurs at the skimmer position. • Click the Insert button in the top-left corner of the timeline. The clip appears in the timeline, and all clips after the insertion point are rippled forward. If the skimmer is not present, the clips are inserted at the playhead position. If you perform an insert edit in the middle of an existing timeline clip, that clip is cut at the insertion point, and the second half is moved to the end of the newly inserted clip, along with the rest of the footage to the right of the insertion point. Insert a gap or placeholder clip in the timeline If you want to reserve space in the timeline for a clip that you don’t yet have, you can insert a generated placeholder clip or a blank and silent clip (called a gap clip). You can adjust a gap clip or placeholder clip to any duration. 1. In Final Cut Pro, move the playhead to the point in the primary storyline or a selected storyline (or make a range selection) where you want to insert the gap clip or placeholder clip. Final Cut Pro User Guide 135 2. Do any of the following: • Insert a placeholder clip: Choose Edit > Insert Generator > Placeholder (or press Option-Command-W). Final Cut Pro inserts a clip with gray placeholder imagery that you can customize. See Add placeholders. • Insert a gap clip: Choose Edit > Insert Generator > Gap (or press Option-W). Final Cut Pro inserts a blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Note: Gap clip color is determined by the current background color in Final Cut Pro. To adjust the background color, choose a Player Background option in the Playback pane of Final Cut Pro preferences. If you want a different color, consider using a solid generator. See Generators overview. The clip appears in the timeline, and all clips after the insertion point are rippled forward (to the right). Insert clips by dragging them from the browser or the Finder In Final Cut Pro, you can drag clips to the timeline to insert them between other clips. Show clips in the browser from the Libraries sidebar, the Photos and Audio sidebar, or the Titles and Generators sidebar, and then drag them to the timeline. You can also insert clips by dragging them directly to the timeline from the Finder. • Drag the clip you want to insert to an edit point (between two clips) in the timeline. Final Cut Pro User Guide 136 The clip appears in the timeline, and all clips after the insertion point are rippled forward (to the right). Connect clips in Final Cut Pro In Final Cut Pro, you can attach clips to other clips in the timeline. Connected clips remain attached and synced until you explicitly move or remove them. Some uses for connected clips include: • Cutaway shots: Add a cutaway shot by connecting it to a video clip in the timeline. • Superimposed titles: Add a title or a lower third to a video clip or range. • Spot sound effects and background music: Sync audio clips to clips in the primary storyline. The clips remain synced even if you move the primary storyline clips. When you connect clips using the Connect menu command, the keyboard shortcut, or the button above the timeline, video clips are connected above the primary storyline, and audio clips are connected below the primary storyline. Note: You can also use three-point editing to make connect edits. See Intro to three-point editing. Final Cut Pro User Guide 137 Connect clips in the timeline 1. If your Final Cut Pro project is empty, add clips to the dark gray primary storyline area in the timeline to build your initial sequence. The clips in the primary storyline serve as a foundation on which you connect (attach) clips to further build your project. Connect edits are slightly different from the other edit types in that they never add clips to the primary storyline. If you perform a connect edit in an empty timeline, a gap clip is first added to the primary storyline, and then the new connected clip is attached to the gap clip. 2. Select one or more clips or a range in the browser. 3. To indicate where you want to connect the selected source clip, do one of the following: • Position the playhead over a frame of the clip in the primary storyline. • Select a range in the primary storyline. 4. To connect the selected clips to the clips in the primary storyline, do one of the following: • Choose Edit > Connect to Primary Storyline (or press Q). Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the clip is connected at the skimmer position. • Click the Connect button in the top-left corner of the timeline. • Drag the clips to the gray area above or below the primary storyline. Final Cut Pro User Guide 138 The first frame of the source selection is connected to the clip in the primary storyline at the playhead or skimmer position. If you dragged the selection to the timeline, the first frame of the source selection is connected to the primary storyline at the point where you released the mouse or trackpad button. When you rearrange, move, ripple, or delete clips in the primary storyline, any clips connected to them are moved or deleted along with the primary storyline clips. Final Cut Pro User Guide 139 When you connect clips by dragging them, you have the option to put video clips either above or below the primary storyline. Note: In Final Cut Pro, if you connect clips, the topmost video clips block out any video clips below them. Exceptions to this rule are clips with some type of transparency, keying, or compositing settings. See Intro to compositing . Audio clips never affect video output, even when they’re placed above video clips in the timeline. Adjust the connection point of a connected clip By default, connected clips and storylines are connected to the primary storyline at their first frame, but you can move the connection point. This is useful when you want to connect a specific frame or audio sample in the connected clip or storyline to a specific frame or audio sample in the primary storyline. • In Final Cut Pro, hold down the Command and Option keys, then click the connected clip (or the gray border of the storyline) at the point where you want to position the connection point. The connection point is moved to the point where you clicked. Final Cut Pro User Guide 140 Edit clips in the primary storyline without affecting connected clips If you need to move, trim, or delete clips in the primary storyline but want to keep any connected clips where they are, you can hold down the Grave Accent (`) key while editing to preserve the timing and position of connected clips. In Final Cut Pro, do any of the following: • Move a clip without affecting connected clips: While holding down the Grave Accent (`) key, drag the clip to another location in the timeline (using either the Select tool or the Position tool). • Trim a clip without affecting connected clips: While holding down the Grave Accent (`) key, trim the clip using any method, including ripple edits, roll edits, slip edits, and slide edits. • Delete a clip without affecting connected clips: While holding down the Grave Accent (`) key, select the clip and press Delete (or press Option-Command-Delete). If you remove clips or ranges involved with connected clips and storylines without holding down the Grave Accent (`) key, special rules apply. See Remove clips from projects. • Switch to an alternate clip in an audition without affecting connected clips: While holding down the Grave Accent (`) key, select the pick in the Audition window. See Review clips in auditions. In all of these cases, the connected clip (or clips) remains in exactly the same position, with its timing preserved. Final Cut Pro User Guide 141 Overwrite clips in Final Cut Pro In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or the playhead or skimmer position. No clip items are rippled forward, so the duration of your project remains the same. Overwriting media is different from replacing it. Overwriting works with range selections only, not entire clips, and is not constrained by clip boundaries. Use an overwrite edit when you want to replace media for a specific span of time, rather than replace specific shots. Note: You can also use three-point editing to make overwrite edits. See Intro to three-point editing. 1. In Final Cut Pro, select one or more clips in the browser. If you select multiple clips, they appear in the timeline in the order in which they were selected. 2. To define where you want the overwrite clip to start in the timeline, do one of the following in the primary storyline or a selected storyline: • Position the playhead. • Select a range involving one or more clips in the timeline. Note: The overwrite command ignores whole-clip selections in the timeline. If you don’t select a range in the timeline, the overwrite clip starts at the playhead or skimmer position. 3. Choose Edit > Overwrite (or press D). The source clip appears in the primary storyline and overwrites any clips for the duration of the source clip. Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the edit occurs at the skimmer position. To overwrite from the playhead back, so that the overwrite clip’s end point (rather than its start point) is aligned at the target position, press Shift-D. Final Cut Pro User Guide 142 Replace clips in Final Cut Pro You can replace clips in your project with clips from the browser or the Finder. In contrast to overwrite edits, replacing works on whole timeline clips only and can change the duration of your project. Replace options include using the start or end of the source clip, retiming the source clip to fit the duration of the timeline clip, and automatically creating or adding to auditions. Replace a clip in the timeline by dragging 1. In Final Cut Pro, make a source selection by doing one of the following: • Select a clip or range in the browser. • Select a media file in the Finder. 2. Drag the source selection over the clip in the timeline you want to replace. The target clip in the timeline is highlighted with a white outline. 3. Release the mouse or trackpad button and choose an option from the shortcut menu: • Replace: The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • Replace from Start: The target clip is replaced with the source clip selection, starting from the beginning of the source selection. The duration is determined by the duration of the target clip. Final Cut Pro User Guide 143 • Replace from End: The target clip is replaced with the source clip selection, starting from the end of the source selection. The duration is determined by the duration of the target clip. • Replace with Retime to Fit: The target clip is replaced with the entire source clip selection, retimed to fit the duration of the target clip. • Replace and Add to Audition: The target clip is replaced with an audition that has the source clip selection as the pick and the target clip as an alternate. The duration is determined by the source clip selection. If the source clip and the target clip have different durations, the subsequent clips ripple. • Add to Audition: The target clip is replaced with an audition that has the target clip as the pick and the source clip selection as an alternate. • Cancel: The replace edit is canceled. The source clip selection appears in the timeline, in place of the original clip. Note: In the case of Replace from Start and Replace from End, if the source clip selection is a range selection with a duration shorter than that of the target clip and there’s sufficient extra media, the source selection is extended to match the duration of the target clip. The resulting storyline duration doesn’t change. Replace a clip in the timeline using keyboard shortcuts 1. In the browser in Final Cut Pro, select the source clip or range. 2. In the timeline, select the clip you want to replace. Note: The timeline selection must be a whole-clip selection, not a range selection. 3. Do one of the following: • Perform a standard replace edit: Press Shift-R. The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • Perform a Replace from Start edit: Press Option-R. The target clip is replaced with the source clip, starting from the beginning of the source clip. The duration is determined by the duration of the target clip. Note: In the case of Replace from Start, if the source clip selection is a range selection with a duration shorter than that of the target clip and there’s sufficient extra media, the source selection is extended to match the duration of the target clip. The resulting storyline duration doesn’t change. Final Cut Pro User Guide 144 Add still images in Final Cut Pro In Final Cut Pro, you can add and edit a variety of still-image formats in your projects, including photos and graphics files. Add a still image to the timeline You can add still images to your Final Cut Pro project using the Libraries sidebar, the Photos and Audio sidebar, or the Finder. In Final Cut Pro, do any of the following: • Add a still image using the Libraries sidebar: Import the still image into an event, select the event in the Libraries sidebar, then select all or part of the still-image clip in the browser and drag it to the timeline. For information about importing media, see Intro to importing media. Note: After a still image is imported, it functions like any other clip in Final Cut Pro. You can use any of the techniques described in this chapter to add still-image clips to the timeline. • Add a still image using the Photos and Audio sidebar: Open the Photos and Audio sidebar, select a still image in the browser, and drag it directly into the timeline. • Add a still image from the Finder: Select a still-image file in the Finder, then drag it directly into the timeline. The default initial duration for still images is 4 seconds, but you can change this setting in the Editing pane of Final Cut Pro preferences. There’s no limit on the duration of a still-image clip. To adjust the duration of a still-image clip in the timeline, use any of the trimming techniques described in this chapter (see Intro to trimming). To adjust the duration of multiple still-image clips at once, select the clips, then choose Modify > Change Duration (or press Control-D). Edit layered graphics files You can edit layered graphics files, such as Adobe Photoshop (PSD) files, created with another image editing app. 1. Import the layered graphics files into Final Cut Pro. For information about importing media, see Intro to importing media. Important: If the layered graphics file has a transparent background, make sure your project’s rendering format is set to Apple ProRes 4444 to preserve the transparency when rendering. See Modify a project’s settings. 2. In the browser or the timeline, select the layered graphics image. Final Cut Pro User Guide 145 3. Choose Clip > Open Clip. Each layer appears in the timeline as a connected clip that you can edit as you would any other clip. For example, you can animate layers by fading them in or out. The default duration for a layered graphics file is one minute. To adjust the duration of one of the layers in the timeline, use any of the trimming techniques described in this chapter (see Intro to trimming). To adjust the duration of all the layers, select them, then choose Modify > Change Duration (or press Control-D). For more information on creating layered graphics files for Final Cut Pro, see Best practices for creating layered graphics files. Edit a still image with an external image editing app You can modify a still image with an external image editing app, and the changes appear automatically in the clip in Final Cut Pro. 1. In Final Cut Pro, add a still image to the timeline. 2. To locate the clip’s source media file in the Finder, press Shift-Command-R. See Locate source media files. 3. Open the source media file in the external image editing app. 4. In the image editing app, modify the image and save the changes. 5. Switch back to Final Cut Pro. The changes appear automatically in the still-image clip in Final Cut Pro. You can also create freeze frames from your video clips. See Create freeze frames. Final Cut Pro User Guide 146 Create freeze frames in Final Cut Pro Freeze-frame clips hold a particular frame in place, temporarily stopping the action onscreen. You can create a freeze-frame clip from any video clip in the timeline or the browser. If you create a freeze-frame clip from the browser, it’s attached to the primary storyline at the playhead location as a connected clip. If you don’t want to create a separate clip for a freeze frame, you can create a hold segment, which temporarily stops the action for part of a clip. Hold segments offer more precise control, especially when you’re creating variable speed effects. See Create hold segments. You can also create a still-image file from a video frame in your project or from a clip in the browser. For example, you may want to email someone a JPEG image showing a specific moment in your project. See Export still images. Create a freeze-frame clip You can create freeze frames on the fly during playback or by navigating to a specific frame in a clip. Note: A freeze-frame clip preserves any attributes that were applied to the source clip, such as settings and effects. 1. In the timeline or the browser in Final Cut Pro, do one of the following: • Move the skimmer or playhead to the frame you want to freeze. • Begin playback of the clip. 2. Choose Edit > Add Freeze Frame (or press Option-F). How the freeze frame is added to the project depends on whether the freeze frame was created from the timeline or the browser. • If you created the freeze frame from a clip in the timeline: A new freeze-frame clip is inserted at the skimmer or playhead location in the timeline. • If you created the freeze frame from a clip in the browser: A new freeze-frame clip is attached as a connected clip at the playhead location in the timeline. Final Cut Pro User Guide 147 Change the default duration of freeze-frame clips Freeze-frame clips have the same default duration as still-image clips: 4 seconds. You can change the default duration in the Editing pane of Final Cut Pro preferences. 1. Choose Final Cut Pro > Preferences (or press Command-Comma), then click the Editing button at the top of the window. 2. Adjust the Still Images value slider. Add only a clip’s video or audio in Final Cut Pro By default, whenever you add a clip from an event to the timeline, all of the video and audio components of the event clip are included in the edit. However, you can also add just the video or audio portion of an event clip to the timeline, even if the clip contains both video and audio. 1. To set the editing mode in Final Cut Pro, do one of the following: • Add just the video from your selection: Click the Edit pop-up menu in the top-left corner of the timeline and choose Video Only (or press Shift-2). • Add just the audio from your selection: Click the Edit pop-up menu and choose Audio Only (or press Shift-3). The edit buttons (to the left of the Edit pop-up menu) change their appearance to indicate the mode you chose: 2. Add clips to the timeline as you normally would. See Intro to adding clips. The video-only or audio-only clips appear in the timeline. To return to the default editing mode (video and audio), click the Edit pop-up menu and choose All (or press Shift-1). Remove clips from projects in Final Cut Pro When you remove clips from a project in the timeline, the source media from the browser or the Finder is not affected. Final Cut Pro User Guide 148 Delete clips or ranges from the timeline 1. In the Final Cut Pro timeline, select the clips or the range you want to remove. 2. Choose Edit > Delete (or press the Delete key). The selected clips or portions of clips are removed from the timeline, and any clips to the right of the selection ripple to close the resulting gap. To undo the deletion immediately, choose Edit > Undo (or press Command-Z). Note: Normally, if you select an entire timeline clip (for example, with the C key) or a range that consists of an entire clip (for example, with the X key) and delete it, any connected clips or storylines are also deleted. However, you can delete a clip without affecting its connected clips by holding down the Grave Accent (`) key while pressing the Delete key. See Edit clips in the primary storyline without affecting connected clips. Also, if you delete a partial range of a clip that includes a connected clip or storyline, the connected items are not deleted but are instead shifted to the closest primary storyline clip. Delete clips or ranges without affecting the project duration If you want to remove clips from the timeline but still maintain the total project duration and timing, you can replace clips with gap clips. This method prevents any ripple edits. 1. In the Final Cut Pro timeline, select the clips or the range you want to remove. 2. Choose Edit > Replace with Gap (or press Shift-Delete). The selection in the timeline is replaced with a gap clip. Note: This method preserves connected clips. When you replace a clip with a gap clip, any connected clips are attached to the resulting gap clip. Solo or disable clips in Final Cut Pro Sometimes, it’s helpful to compare how a project plays with and without certain clips. In Final Cut Pro, you can quickly play one clip’s audio, excluding audio from other clips. This feature, called solo, works by disabling the audio in all unselected clips in the timeline. You can also disable (rather than delete) selected clips, making them invisible and silent during playback. Disabled clips don’t appear in any output. You can just as easily reenable them. Final Cut Pro User Guide 149 Solo selected items 1. In Final Cut Pro, select the clips in the timeline that you want to isolate. 2. Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the top-right corner of the timeline. When solo is turned on, the Solo button turns blue, and the soloed clips are outlined in yellow. Nonsoloed clips are shown in black and white. 3. To turn off solo, click the Solo button again. Disable and reenable one or more clips 1. In Final Cut Pro, select one or more clips in the timeline. 2. Choose Clip > Disable (or press V). Disabled clips are dimmed in the timeline and are invisible and silent during playback. 3. To reenable the disabled clips, select them in the timeline, then choose Clip > Enable (or press V). You can also solo, disable, or silence audio clips in Final Cut Pro. See Solo and mute audio clips. Final Cut Pro User Guide 150 Find a project clip’s source clip in Final Cut Pro You can use the Reveal in Browser command to quickly find the source event clip for any clip in your project in the timeline. This command identifies the source clip in the browser and positions the playhead on the same frame as in the timeline. This is known as a match frame. There are several reasons you might want to locate a timeline clip’s source clip in Final Cut Pro: • You want to duplicate a clip in your project or add the same clip to a different project. • You want to open the original source clip without any of the video or audio effects from the timeline clip—for example, to add a fresh copy of the clip to your project. • You want to open the source event clip with all of its video and audio components, instead of the timeline clip, which may have only a single component. For example, your timeline clip may be a video clip item that no longer has its corresponding audio. You can open the video clip’s source clip in the browser, and then edit the audio components from the source clip back into the project using a replace or overwrite edit. 1. In the Final Cut Pro timeline, select the clip whose source event clip you want to locate. 2. Do one of the following: • Choose File > Reveal in Browser (or press Shift-F). • Control-click the clip and choose Reveal in Browser. A selection border appears around the source clip or range in the browser, and the playhead position in the source clip matches the playhead position in the timeline clip. An orange line along the bottom of the source clip indicates that the clip is being used in the current project (the project open in the timeline). Make three-point edits Intro to three-point editing in Final Cut Pro Three-point editing allows you to use start and end points in the browser and the timeline to specify the duration of a clip and where it should be placed in the timeline. Threepoint editing gets its name from the fact that only three edit points are necessary to determine the portion of the source clip to use and where to place that clip in the timeline. Final Cut Pro infers the fourth edit point automatically. The result of the edit depends on which three points are set in the browser and in the timeline: two start points and one end point or one start point and two end points. Final Cut Pro User Guide 151 You can use three-point editing with the following types of edits: • Insert • Connect • Overwrite With each of these edit types, you can also perform backtimed three-point edits, in which the end point (rather than the start point) is aligned with the skimmer or playhead position in either the browser or the timeline. You can also make two-point edits in which start and end points are inferred from the skimmer position and the clip duration. To make three-point edits, it’s important to know how to make selections and how to use the skimmer and the playhead. For information about making selections, see Select ranges and Select clips. For information about the skimmer and the playhead, see Intro to playback. Basic three-point editing has three steps: Step 1: Set source selection edit points in the browser Specify which part of a clip you want to place in the timeline. You do this by setting the start and end points. If you want to set just a start point in the browser, position the skimmer (or playhead) at the point where you want the edit to begin. In this case, the end point is determined by the start and end points set in the timeline or by the end of the clip. You can also select multiple clips in the browser, and their aggregate source media duration determines the start and end points. Step 2: Set edit points in a storyline in the timeline Specify where you want the clip to appear in the timeline by setting start and end points in the primary storyline or in a connected storyline. If both start and end points are set in the timeline, these edit points determine the edit duration, regardless of the duration set in the browser. If no start or end points are set in the timeline, Final Cut Pro uses the skimmer position for the start point of the edit. If the skimmer is not present, Final Cut Pro uses the playhead position. Important: With few exceptions, three-point editing requires range selections rather than clip selections. Step 3: Add the source clip or selection to the timeline Choose to either insert, connect, or overwrite. Final Cut Pro three-point editing guidelines The result of a three-point edit in Final Cut Pro depends on which three points you set in the browser and the timeline. Edit points set Results • Source selection start and end points in the browser • Destination start point in the timeline The start point of the source selection in the browser is aligned with the destination start point in the timeline, and the duration of the edit is determined by the source selection start and end points in the browser. Final Cut Pro User Guide 152 Edit points set Results • Source selection start point in the browser • Destination start and end points in the timeline The start point of the source selection in the browser is aligned with the destination start point in the timeline, and the duration of the edit is determined by the destination start and end points in the timeline. Note: This edit requires a range selection in the timeline. You can use the Range Selection tool or the I and O keys for this purpose. See Select ranges. • Source selection start and end points in the browser • Destination end point in the timeline The end point of the source selection in the browser is aligned with the destination end point in the timeline, and the duration of the edit is determined by the source selection start and end points in the browser. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. • Source selection end point in the browser • Destination start and end points in the timeline The end point of the source selection in the browser is aligned with the destination end point in the timeline, and the duration of the edit is determined by the destination start and end points in the timeline. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. Note: This edit requires a range selection in the timeline. You can use the Range Selection tool or the I and O keys for this purpose. See Select ranges. Final Cut Pro three-point edit examples In Final Cut Pro, you can make precise edits using a combination of three (or sometimes two) edit points set in the browser and the timeline. See Intro to three-point editing. Here are a few examples of ways to make three-point edits. Example: Make a three-point edit The simplest way to perform a three-point edit is to specify start and end points for the source selection in the browser, and then specify the destination start point in your project by positioning the skimmer (or the playhead) in the timeline. 1. In Final Cut Pro, set start and end points (or select a range) for the source selection in the browser. Final Cut Pro User Guide 153 2. In the timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to start (the destination start point). 3. To add the source selection to the project using an overwrite edit, press D. The portion of your source selection between the start and end points appears in the timeline, starting at the skimmer position. By defining only three points—the source selection start and end points in the browser and the destination start point in the timeline—you have total control of the edit. Example: Make a backtimed three-point edit You can make a three-point edit by defining source selection start and end points in the browser and a destination end point (instead of a destination start point) in the timeline. This is called backtiming a clip. You can use this method when you want to make sure a particular clip ends at a specific point in a project, on a musical beat. In the resulting edit, the end point of the media in the browser selection is aligned with the end point you set in the timeline, and the rest of the source selection appears to the left. 1. In Final Cut Pro, set start and end points (or select a range) for the source selection in the browser. Final Cut Pro User Guide 154 2. In the timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to end. 3. Do any of the following: • Backtime the selection using a connect edit: Press Shift-Q. See Connect clips. • Backtime the selection using an overwrite edit: Press Shift-D. See Overwrite clips. Your source selection is edited into the project so that the end point of the media in your source selection lines up with the end point you specified in the timeline. The rest of your clip overwrites any material to the left of the end point for the duration defined by the source selection start and end points set in the browser. Example: Make a three-point edit with multiple clips You can make three-point edits with multiple clips at a time. 1. In Final Cut Pro, select two or more clips in the browser (don’t select a range within a single clip). For information about selecting multiple clips, see Select clips. Final Cut Pro User Guide 155 2. In the timeline, define a destination start point by positioning the skimmer at the location in your project where you want the clips to start. 3. To add the selected clips to the project using an overwrite edit, press D. The entire group of clips selected in the browser is edited into the project. The clips are added in the order in which you selected them. Because you used an overwrite edit, any clip items already in the project are overwritten by the clips selected in the browser, for the duration of the browser clips. You can also make a three-point edit involving multiple clips in the timeline. To select a range across multiple clips in the timeline, you use the Range Selection tool or the I and O keys. See Select ranges. Example: Make a two-point edit You can make an edit without any selections in either the browser or the timeline. This is known as a two-point edit. In this case, Final Cut Pro acts on the current clip in the browser from the position of the skimmer or playhead to the end of the clip, and on the project in the timeline from the position of the skimmer or playhead forward. You can also make backtimed two-point edits, in which Final Cut Pro acts on the current clip in the browser and the project in the timeline from the skimmer or playhead position back. In either case, the duration of the edit is determined by the skimmer or playhead position and the end of the clip in the browser. Final Cut Pro User Guide 156 1. To specify a source selection start point in the Final Cut Pro browser, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). 2. To specify a destination start point in the timeline, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). 3. To add the clip to the project using an overwrite edit, press D. Arrange clips in the Final Cut Pro timeline In Final Cut Pro, you can arrange and reorder the clips in your project however you want. If you add or move a clip in the timeline by dragging, Final Cut Pro moves other clips to make room for it. Other reordering techniques include moving clips numerically by entering a timecode value, nudging clips with keyboard shortcuts, overwriting with the Position tool, and moving clips vertically from and to the primary storyline. Move clips by dragging horizontally 1. In the Final Cut Pro timeline, select one or more clips. 2. Drag the clips to a new location in the project. Final Cut Pro User Guide 157 As you drag your clips, you see an outline of your selection at the new position in the timeline. When you release the clip, the repositioned clip (or clips) appears at the new location. Final Cut Pro ripples clips (and any connected clips) in the timeline to make room for the repositioned clips and to close the gap left by the clips that were repositioned. You can also drag clips vertically in and out of the primary storyline. Move clips by entering a timecode value You can move selected clips in the timeline by entering an amount of time you want the clips to move. Moving clips by entering a timecode value is similar to making a slide edit; the preceding clip and the following clip must have media handles (additional media available beyond the edit point). See Make slide edits. 1. In Final Cut Pro, select one or more clips in the timeline. 2. Do any of the following: • Move the clips forward: Press the Plus Sign (+) key, then type a timecode duration for the move. • Move the clips back: Press the Minus Sign (–) key, then type a timecode duration for the move. Note: For more information and tips on entering timecode, see Navigate using timecode. The timecode display below the viewer becomes an entry field and reflects your changes as you type. Final Cut Pro User Guide 158 3. Press Return. The clips move forward or back by the duration you entered. The adjacent clips are trimmed to accommodate the change in the clip’s position. If you prefer to fill in the vacated parts of the storyline with a gap clip, select the Position tool by pressing P before entering a timecode value. Nudge clips with keyboard shortcuts You can “nudge” selected items to move them by very small amounts, such as frames. Nudging by subframes is also available for connected audio-only clips. Nudging clips in the timeline is similar to making a slide edit; the preceding clip and the following clip must have media handles (additional media available beyond the edit point). See Make slide edits. 1. In Final Cut Pro, select one or more clips in the timeline. 2. To nudge the clips, do any of the following: • Move the selection left by one frame: Press Comma (,). • Move the selection left by 10 frames: Press Shift-Comma (,). • Move the selection right by one frame: Press Period (.). • Move the selection right by 10 frames: Press Shift-Period (.). 3. If you want to nudge connected audio clips by one or more subframes, do any of the following: • Move the selection left by one subframe: Press Option-Comma (,). • Move the selection left by 10 subframes: Press Option-Shift-Comma (,). • Move the selection right by one subframe: Press Option-Period (.). • Move the selection right by 10 subframes: Press Option-Shift-Period (.). For more information about subframes, see Zoom in to audio waveforms. The nudged clip appears at the new position in the timeline. The adjacent clips are trimmed to accommodate the change in the clip’s position. If you prefer to fill in the vacated parts of the storyline with a gap clip, select the Position tool by pressing P before nudging clips. Final Cut Pro User Guide 159 Overwrite clips using the Position tool You can move clips by dragging them in the timeline to overwrite other clips. This allows you to place clips precisely without causing other clips to move to make room. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Position (or press P). The pointer changes to the Position tool . Tip: To switch to the Position tool temporarily, hold down the P key. When you release the P key, the tool reverts to the previously active tool. 2. Select the clip you want to move. 3. Drag the clip to a new position in the timeline. The moved clip overwrites any clips at the new position. A gap clip fills in the vacated part of the timeline. Note: If you prefer to move clips left or right in the timeline without leaving a gap, you can perform a slide edit. To return to the Select tool (the default), click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). Final Cut Pro User Guide 160 Drag clips from and to the primary storyline Dragging clips from and to the primary storyline causes ripple edits, which affect the total duration of your project. When you move a clip out of the primary storyline, it becomes either an individual connected clip or part of a connected storyline. 1. In Final Cut Pro, if the Select tool is not the active tool, click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). 2. Select one or more clips (either clips in the primary storyline or connected clips). 3. Do any of the following: • Move clips out of the primary storyline: Drag the clips from the primary storyline to their new position as connected clips (above or below the primary storyline). The subsequent clips in the primary storyline ripple left to close the gap created by the clips you moved. Final Cut Pro User Guide 161 • Move clips to the primary storyline: Drag the clips from their position as connected clips to an edit point between two clips in the primary storyline. The result is effectively an insert edit: The former connected clips are inserted in the primary storyline, and subsequent clips ripple right to make room for the new clips. Note: You can drag clips from and to the primary storyline as long as there are no clips connected to them. If there’s a connected clip, you must first move or remove it, or use either the Lift from Storyline command (Option-Command-Up Arrow) or the Overwrite to Primary Storyline command (Option-Command-Down Arrow). See Move clips from and to the primary storyline without rippling the project, next. Move clips from and to the primary storyline without rippling the project You can move clips from and to the primary storyline without affecting the total duration of your project. 1. In Final Cut Pro, select the clips you want to move. Final Cut Pro User Guide 162 2. Do any of the following: • Move selected clips from the primary storyline to connected clips at the same timeline position: Choose Edit > Lift from Storyline (or press Option-Command-Up Arrow). Gap clips fill in the vacated parts of the primary storyline, as needed. • Move selected connected clips to the primary storyline: Choose Edit > Overwrite to Primary Storyline (or press Option-Command-Down Arrow). Depending on the amount of overlap on the connected clip, the Overwrite to Primary Storyline command either creates a split edit or overwrites any video clips at the new location and converts the audio portion of the overwritten clip to a connected clip. The Overwrite to Primary Storyline command is not available for audio-only clips. Note: The Overwrite to Primary Storyline command works on individual connected clips only. To use this command on a clip in a connected storyline, first move the clip out of the storyline. You can achieve the same results by dragging clips with the Position tool. Cut and trim clips Intro to trimming in Final Cut Pro After you’ve roughly assembled your clips in chronological order in the timeline, you begin to fine-tune the cut point (or edit point) between each pair of contiguous clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. However, trimming generally refers to precision adjustments of anywhere from one frame to several seconds. If you’re adjusting clip durations by much larger amounts, you’re still trimming, but you may not be in the fine-tuning phase of editing yet. In Final Cut Pro, you can use a variety of techniques to trim timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. Final Cut Pro User Guide 163 No matter how you trim or make other edits in Final Cut Pro, the underlying media is never touched. Trimmed or deleted pieces of clips are removed from your project only, not from the source clips in your library or from the source media files on your Mac or storage device. Tip: You can see a “two-up” display in the viewer as you trim edit points in the timeline. See Show trimming details in the viewer. Cut clips in two in Final Cut Pro After you add clips to the timeline, you can easily cut them to adjust their durations or remove unwanted sections. The most basic edit is a straight cut. The term comes from the film editing process of cutting a filmstrip with a razor and attaching a new “clip” with glue. Each time you cut a clip in your project, it’s split into two clips. You can cut one clip at a time or multiple clips at a time. Cut a clip in the timeline 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Blade (or press B). The pointer changes to the Blade tool . Tip: To switch to the Blade tool temporarily, hold down the B key. When you release the B key, the tool reverts to the previously active tool. 2. Move the skimmer to the frame in the clip where you want to cut, then click. Tip: You can also cut clips while playing back your project. To cut clips on the fly, press Command-B at any time while your project plays back. Final Cut Pro User Guide 164 An edit point appears as a dotted line where you clicked, and the clip is divided into two clips. The dotted line indicates a through edit, in which the media content on either side of the edit point is continuous. To remove a through edit, do one of the following: • Select either or both sides of the through edit point, then choose Trim > Join Clips (or press Delete). • Select the clips on both sides of the through edit, then choose Trim > Join Clips. Cut all clips at once You can use the Blade All command to cut all primary storyline clips and connected clips at the skimmer or playhead location simultaneously. 1. In the Final Cut Pro timeline, move the skimmer to the frame where you want to cut. 2. Choose Trim > Blade All (or press Shift-Command-B). All clips at the skimmer position are cut. Cut multiple selected clips at once You can use the Blade command to cut selected primary storyline clips and connected clips simultaneously. 1. In the Final Cut Pro timeline, select the clips you want to cut. 2. Move the skimmer to the frame where you want to cut. Final Cut Pro User Guide 165 3. Choose Trim > Blade (or press Command-B). The selected clips are cut at the skimmer position. Note: If you don’t make a selection, this command acts only on the clip in the primary storyline. Extend or shorten clips in Final Cut Pro You can trim a clip in your project by adjusting the start point or end point of the clip. The default type of trim in Final Cut Pro is a ripple edit, which adjusts a clip’s start point or end point without leaving a gap in the timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the timeline. Similarly, if you delete a clip from the timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the timeline, and the total duration of your project. You can see a “two-up” display in the viewer as you trim edit points in the timeline. This display shows a more detailed view of each side of an edit point. See Show trimming details in the viewer. Final Cut Pro User Guide 166 Drag edit points with the Select tool 1. In the Final Cut Pro timeline, move the pointer to the start point or the end point of the clip you want to trim. The pointer changes from an arrow icon to a trim icon. The look of the trim icon changes to indicate whether the trim will affect the end point of the left clip or the start point of the right clip. 2. Drag the start point or the end point in the direction you want to trim the clip. As you drag, the clip shortens or lengthens. Numerical timecode fields indicate the duration of the clip and the amount of time you’re moving the edit point. Any clips to the right of the edit point are rippled accordingly. When you extend a clip to its maximum length in either direction, the clip edge turns red. Enter a new duration for a clip using timecode You can change the total duration of one or more selected clips by entering a timecode value. 1. In Final Cut Pro, select one or more clips in the timeline. Final Cut Pro User Guide 167 2. Do one of the following: • Choose Modify > Change Duration (or press Control-D). • Double-click the timecode display below the viewer. The timecode display changes to reflect the total duration of the clip or clips you selected in step 1. 3. Enter a new duration for the selected clip. The end point of the clip is moved to the duration you entered, and any subsequent timeline clips ripple accordingly. If you enter a duration longer than the available media in the clip, the duration is extended to the maximum length of the clip. For more information about entering timecode values, see Navigate using timecode. Trim to a selection 1. In the Final Cut Pro timeline, select the part of a clip that you want to keep. For information about making range selections, see Select ranges. 2. Choose Trim > Trim Selection. Final Cut Pro trims the clip start and end points to match the range selection. The unwanted sections are removed from the clip and the project, and the subsequent clips in the project ripple accordingly. Nudge edit points with keyboard shortcuts You can fine-tune the start or end point of a clip using keyboard shortcuts. You can move the edit point by one or more video frames. You can also move the edit points of connected audio clips (those not in the primary storyline) by subframes. Final Cut Pro User Guide 168 1. In the Final Cut Pro timeline, select the start or end point of the clip you want to trim. 2. To move the edit point, do any of the following: • Move the edit point left by one frame: Press Comma (,). • Move the edit point left by 10 frames: Press Shift-Comma (,). • Move the edit point right by one frame: Press Period (.). • Move the edit point right by 10 frames: Press Shift-Period (.). 3. If you want to move the edit point of connected audio clips by one or more subframes, do any of the following: • Move the edit point left by one subframe: Press Option-Comma (,). • Move the edit point left by 10 subframes: Press Option-Shift-Comma (,). • Move the edit point right by one subframe: Press Option-Period (.). • Move the edit point right by 10 subframes: Press Option-Shift-Period (.). For more information about subframes, see Zoom in to audio waveforms. Move edit points to the playhead or skimmer position You can adjust selected edit points in the timeline, either as a ripple edit or as a roll edit, using keyboard shortcuts. 1. In the Final Cut Pro timeline, select the edit point you want to adjust. Note: For a roll edit, select both sides of the edit point with the Trim tool. Final Cut Pro User Guide 169 2. Position the playhead or the skimmer at the point in the timeline to which you want to move the edit point. 3. Choose Trim > Extend Edit (or press Shift-X). The edit point is extended (or shortened) to the playhead or skimmer position. In the example above, if you selected the end point of the clip, subsequent clips in the timeline are rippled accordingly. If you selected both sides of the edit point with the Trim tool, the right clip is shortened (with a roll edit) and no clips ripple. Trim edit points using timecode You can trim clips numerically by entering timecode values. 1. In Final Cut Pro, if the Select tool is not the active tool, click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). 2. In the timeline, select the start point or the end point of the clip you want to trim. Final Cut Pro User Guide 170 3. To trim the edit point, do one of the following: • Move the edit point forward: Press the Plus Sign (+) key, type a timecode duration for the trim, and press Enter. • Move the edit point back: Press the Minus Sign (–) key, type a timecode duration for the trim, and press Enter. The timecode display below the viewer shows the duration of the trim. The clip is shortened or extended by the amount of time you entered, and subsequent clips in the timeline are rippled accordingly. Note: You can’t extend a clip beyond its maximum duration. For more information and tips on entering timecode, see Navigate using timecode. Cut the start or end of a clip at the playhead Some of your video clips may have sections at the beginning or the end that you don’t want to include in your project. You can easily trim off these ranges with a single command, even while playing back the project. No selections are required. This type of edit is sometimes called a top and tail edit. 1. In the Final Cut Pro timeline, position the playhead or the skimmer on the frame at which you want to trim the clip. 2. Do one of the following: • Trim off the start of the clip: Choose Trim > Trim Start, or press Option-Left Bracket ([). • Trim off the end of the clip: Choose Trim > Trim End, or press Option-Right Bracket (]). Final Cut Pro User Guide 171 • Trim the edit point closest to the playhead: Choose Trim > Trim to Playhead, or press Option-Backslash (\). The clip is trimmed to the playhead (or skimmer) position, and the timeline is updated accordingly. In the case of connected clips or storylines, the selected clip is trimmed. If there’s no selection, the topmost clip is trimmed. Align audio to video At any time, you can align audio to video for clips or components in your project to make the video and audio start and end points match. This clears any split edits you made. You can select multiple clips or components. 1. In the Final Cut Pro timeline, select the clips or components you want to align. 2. Choose Trim > Align Audio to Video. Note: If you’re working on numerous split edits throughout your project, you might find it convenient to show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Make roll edits in Final Cut Pro A roll edit adjusts the start point and the end point of two adjacent clips simultaneously. If you like where two clips are placed in the timeline but want to change when the cut point happens, you can use the Trim tool to roll the edit point between the two clips. No clips move in the timeline as a result; only the edit point between the two clips moves. No other clips in the project are affected. When you perform a roll edit, the overall duration of the project stays the same, but both clips change duration. One gets longer, and the other gets shorter to compensate. In the example above, clip B gets shorter while clip C becomes longer, but the combined duration of the two clips stays the same. Final Cut Pro User Guide 172 You can see a “two-up” display in the viewer as you trim edit points in the timeline. This display shows a more detailed view of each side of an edit point. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. In the timeline, click the center of the edit point you want to roll, so that both sides of the edit point are selected. 3. Do one of the following: • Drag the edit point left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to add or subtract from the current edit, then press Return. The timecode display below the viewer shows the duration of the trim. For more information about entering timecode values, see Navigate using timecode. • Position the playhead or the skimmer at a point in the timeline to which you want to move the edit point, then choose Trim > Extend Edit (or press Shift-X). Final Cut Pro User Guide 173 The edit point is rolled to the new location. The combined duration of the two clips stays the same. If you can’t roll the edit point any farther and one side of the edit point appears red, you’ve reached the end of the media for one of the two clips. Make slip edits in Final Cut Pro Performing a slip edit doesn’t change a clip’s position or duration in the timeline, but instead changes what portion of the clip’s media appears in the timeline. A slip edit allows you to change a clip’s start and end points simultaneously. Whenever you arrange clips in the timeline so that edit points line up with musical beats or other fixed sync points in a movie, you want to keep your clips in position to maintain the alignment. These situations leave you with very little room to adjust a clip, because you can’t change its duration or move it elsewhere in the timeline. All you can do is move both the start and end points of the clip simultaneously, keeping the clip’s position and duration fixed. Surrounding clips are not affected, and the overall duration of your project doesn’t change. In the example above, the slip edit changes the start and end points of clip B, but not its duration or position in the timeline. When the project plays back, a different portion of clip B’s media is shown. Final Cut Pro User Guide 174 Note: To slip a clip, it must have media handles on both sides, meaning that there must be additional media available on both sides of the clip. If you’re having trouble slipping a clip, check that it has media handles on both sides. You can double-click any edit point to view or adjust media handles in the precision editor. If there are no media handles available, consider using the Position tool instead. See Overwrite clips using the Position tool. For more accurate visual feedback on edits involving contiguous clips, you can see a “two-up” display in the viewer. For a slip edit, the two-up display shows the start and end points of the clip you’re slipping. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. Drag a clip left or right. As you drag, a timecode field indicates the amount of time you’re moving the start point and the end point. Yellow edge selections on the start point and end point indicate a slip edit. Final Cut Pro User Guide 175 When you release the mouse or trackpad button, the slipped clip appears in the timeline with a new start point and a new end point. Note: If either the start point or the end point turns red as you drag, you’ve reached the end of the available media for that side of the clip. With the current selection, you can also slip the clip with keyboard shortcuts by doing one of the following: • Press Comma (,) or Period (.) to nudge the start and end points one frame to the left or right. You can also press Shift-Comma or Shift-Period to nudge the start and end points 10 frames to the left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to slip the clip left or right, then press Return. Make slide edits in Final Cut Pro Performing a slide edit allows you to move a clip’s position in the timeline between two other clips without creating a gap. The clip’s content and duration remain the same; only its position in the timeline changes. When you slide a clip, the adjacent clips get longer and shorter to accommodate the change in the clip’s position. The combined duration of these three clips stays the same, and the project’s total duration remains unchanged as well. Note: To slide a clip between two others, the preceding clip and the following clip must have media handles (additional media available beyond the edit point). You can doubleclick any edit point to view or adjust its media handles in the precision editor. If there are no media handles available, consider using the Position tool instead. See Overwrite clips using the Position tool. For more accurate visual feedback on edits involving contiguous clips, you can see a “two-up” display in the viewer. For a slide edit, the two-up display shows the two edit points you’re adjusting: the end point of the preceding clip and the start point of the subsequent clip. See Show trimming details in the viewer. Final Cut Pro User Guide 176 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. Option-drag a clip to the left or right. Yellow selections on the neighboring clips indicate a slide edit. As you drag, a timecode field indicates the amount of time you’re moving the clip in the timeline. When you release the mouse or trackpad button, the slide clip appears at the new position in the timeline. The adjacent clips are trimmed to accommodate the change in the clip’s position. Final Cut Pro User Guide 177 Note: If either edit point turns red as you drag, you’ve reached the end of the available media for that side of the clip. With the current selection, you can also slide the clip with keyboard shortcuts by doing one of the following: • Press Comma (,) or Period (.) to nudge the start and end points one frame to the left or right. You can also press Shift-Comma or Shift-Period to nudge the start and end points 10 frames to the left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to slide the clip left or right, then press Return. See Arrange clips in the timeline. Create split edits in Final Cut Pro You can set separate video and audio start and end points in an individual clip, creating a split edit. You can use a split edit to introduce the sound of a new shot or scene before cutting to the video of that shot or scene, or to extend the audio of a shot over a subsequent shot. For example, you could cut from a clip of a person talking to video of a person listening, while the audio from the first clip continues. You can use split edits in many different situations—in dialogue scenes, when cutting to illustrative B-roll footage during an interview, or when transitioning from one scene to another. Split edits help you create seamless edits from one shot to the next. The split edit technique results in L-shaped and J-shaped clips with audio extending to the left or the right. These are known as L-cuts and J-cuts. Create a split edit by dragging To create the split edit, you extend the audio of one clip over a neighboring clip. In this example, the audio from the close-up shot is extended over the previous shot to create a J-cut. 1. In Final Cut Pro, add clips to the timeline in the order in which you want them to appear in your movie. Final Cut Pro User Guide 178 2. To show separate audio for the clip you want to edit, do one of the following: • Select the clip in the timeline, then choose Clip > Expand Audio (or press Control-S). • Double-click the clip’s audio waveform. • Show audio lanes in the timeline for the clips you want edit. The audio and video portions of the clip appear as discrete elements that you can change individually. The audio and video are still attached and will remain in sync. 3. Drag the start point (left edge) of the video portion of the clip to the right, effectively trimming it with a roll edit. The example below shows the video start point of the close-up shot being dragged to the right. This creates a J-shaped split edit, with the start point of the audio overlapping the preceding clip. 4. To complete the split edit, show separate audio for the preceding clip, then do one of the following: • Drag the preceding clip’s end point to the left so that the two audio clips no longer overlap. Final Cut Pro User Guide 179 • Adjust the audio level of either clip (using keyframes or audio fade handles) so that the audio overlap sounds natural. 5. If you want to turn off the separate audio view to “clean up” the affected clips, do one of the following: • Select the clip in the timeline, then choose Clip > Collapse Audio (or press Control-S). • Double-click the clip’s audio waveform. When you play back this section of the timeline, the person in the close-up shot begins to speak before the video cuts to the close-up. Create a split edit using keyboard shortcuts You can create split edits quickly using keyboard shortcuts. In this example, the audio from the close-up is extended over the medium shot to create a J-cut. 1. In Final Cut Pro, confirm that the two adjacent clips have sufficient media handles. If not, trim the clips (shorter) to create the media handles. 2. To show separate audio for the two adjacent clips, do one of the following: • In the timeline, select the clips whose audio you want to expand, then choose Clip > Expand Audio (or press Control-S). Final Cut Pro User Guide 180 • Double-click the clip’s audio waveform. 3. Move the playhead to the edit point between the two clips. To ensure accurate playhead placement, use keyboard shortcuts: • Move the playhead to the previous edit point: Press Semicolon (;) or the Up Arrow key. • Move the playhead to the next edit point: Press Apostrophe (’) or the Down Arrow key. 4. Do one of the following: • Select both sides of the audio edit point: Press Shift-Backslash (\). • Select both sides of the video edit point: Press Backslash (\). 5. To roll the audio edit point or the video edit point, do any of the following: • Nudge the edit point left or right: Press Comma (,) or Period (.), respectively. • Nudge the edit point 10 frames left or right: Press Shift-Comma (,) or Shift-Period (.), respectively. Final Cut Pro User Guide 181 • Add or subtract from the current edit using timecode: Press the Plus Sign (+) or Minus Sign (–) key followed by the timecode duration, then press Return. The timecode entry field (with blue numbers) appears below the viewer as you type. For more information about entering timecode values, see Navigate using timecode. When you play back this section of the timeline, the person in the close-up shot begins to speak before the video cuts to the close-up. Align audio to video If you perform a split edit that extends the audio portion of a clip beyond the video portion, you can quickly put the audio and video back into alignment so that the video and audio start and end points match. 1. In the Final Cut Pro timeline, select the clips or components you want to align. 2. Choose Trim > Align Audio to Video. If you select a component, the audio is aligned on both edges of that component. If you select the edge of a component, only that edge is aligned. Note: If you’re working on numerous split edits throughout your project, you might find it convenient to show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Final Cut Pro User Guide 182 Show trimming details in the Final Cut Pro viewer For more accurate visual feedback on edits involving contiguous or connected clips, you can see a “two-up” display in the viewer. For example, for a simple ripple edit, this two-up display shows the end point of the left clip and the start point of the right clip. This display is available for ripple edits, roll edits, slip edits, and slide edits, as well as for trimming in the precision editor. 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. Click Editing. 3. In the Timeline section, select the “Show detailed trimming feedback” checkbox. The two-up display appears in the viewer whenever you use a supported edit type or when trimming in the precision editor. Tip: You can use the Option key to change the detailed trimming feedback display on the fly. If detailed trimming feedback is enabled, press the Option key to disable it. If detailed trimming feedback is disabled, press the Option key to switch the view between the end point of the left clip and the start point of the right clip. View and navigate Zoom and scroll in the Final Cut Pro timeline Being able to see and get to any point in your project is critical to efficient editing and storytelling. There are many ways to adjust the view of the timeline. Zoom in to and out of the timeline using commands In Final Cut Pro, do any of the following: • Zoom in to the timeline: Choose View > Zoom In, or press Command-Plus Sign (+). • Zoom out of the timeline: Choose View > Zoom Out, or press Command-Minus Sign (–). Final Cut Pro User Guide 183 Zoom in to and out of the timeline using the Zoom tool 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Zoom (or press Z). The pointer changes to the Zoom tool . Tip: To switch to the Zoom tool temporarily, hold down the Z key. When you release the Z key, the tool reverts to the previously active tool. 2. Do any of the following: • Zoom in to the timeline: Click the section of the timeline you want to zoom in to. (You can also drag over an area of the timeline to zoom in to just that area.) Click multiple times to continue zooming in. • Zoom out of the timeline: Option-click the section of the timeline you want to zoom out of. Option-click multiple times to continue zooming out. Fit the timeline contents into the available window size Whether you’re zoomed in to a single clip or zoomed out so far that all the clips in your project appear on the left side of the timeline, you can quickly change the view so that all the clips fill the visible part of the timeline and no scrolling is required. • In Final Cut Pro, choose View > Zoom to Fit (or press Shift–Z). Final Cut Pro User Guide 184 Zoom in to and out of the timeline using the Zoom slider 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. The clip appearance controls appear. 2. Do any of the following: • Zoom in to the timeline: Drag the Zoom slider to the right, or press Command-Plus Sign (+). • Zoom out of the timeline: Drag the Zoom slider to the left, or press Command-Minus Sign (–). Scroll a zoomed-in timeline 1. In Final Cut Pro, zoom in to the timeline until you see a portion of the project only. 2. Do one of the following: • Drag the scroll bar at the bottom of the timeline left or right. • Drag the scroll bar at the right side of the timeline up or down. • Click the Tools pop-up menu in the top-left corner of the timeline and choose Hand (or press H), then drag in the timeline. Final Cut Pro User Guide 185 To change how scroll bars appear and behave, choose Apple menu > System Preferences > General, then modify the scroll bar settings. Tip: To switch to the Hand tool temporarily, hold down the H key. When you release the H key, the tool reverts to the previously active tool. You can also use a variety of keyboard shortcuts and Multi-Touch gestures to zoom and scroll in the timeline. See Keyboard shortcuts and Multi-Touch trackpad gestures. Adjust timeline clip appearance in Final Cut Pro In Final Cut Pro, you can change how clips are displayed in the timeline. For example, you can show clips with or without video filmstrips or audio waveforms. You can also change the vertical height of clips, and adjust the relative size of video filmstrips and audio waveforms in clip thumbnails. You can also show only the clip labels. 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. The clip appearance controls appear. 2. To adjust the display of filmstrips and waveforms in timeline clips, click a clip appearance button. Display clips with large audio waveforms only: Click the leftmost button (or press Control-Option-1). Display clips with large audio waveforms and small filmstrips: Click the second button from the left (or press Control-Option-2). Display clips with audio waveforms and video filmstrips of equal size: Click the third button from the left (or press Control-Option-3). Final Cut Pro User Guide 186 Display clips with small audio waveforms and large filmstrips: Click the third button from the right (or press Control-Option-4). Display clips with large filmstrips only: Click the second button from the right (or press Control-Option-5). Display clip labels only: Click the rightmost button (or press ControlOption-6). Tip: To increase the size of audio waveforms for timeline clips, press ControlOption-Up Arrow. To decrease the size of audio waveforms for timeline clips, press Control-Option-Down Arrow. 3. To adjust the vertical height of clips in the timeline, drag the Clip Height slider to the left to decrease the clip height, or to the right to increase the clip height. 4. To adjust the display of clip labels, do any of the following: • View clips by name: Select the Clip Names checkbox. • View multicam clips by the name of the active video angle and the active audio angle: Select the Angles checkbox. • View clips by role: Select the Clip Roles checkbox. • Always show lane names (so the names aren’t obscured by clips): Select the Lane Headers checkbox. Snap to items in the Final Cut Pro timeline The snapping feature in Final Cut Pro makes it easier and quicker to do things like line up a video clip with an audio clip or align the playhead to a particular marker. When snapping is turned on, items you move in the timeline appear to jump, or “snap,” directly to certain points. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. Several elements trigger snapping in the timeline: • Clip boundaries (start and end points) • The playhead and the skimmer • Markers • Keyframes • Range selections You can turn snapping on or off, even while you’re dragging a clip. For example, if you’re trying to move a clip only a few frames among a series of markers and clip boundaries, you can turn off snapping so that the clip doesn’t snap to any of these points. Final Cut Pro User Guide 187 Turn snapping on or off In Final Cut Pro, do one of the following: • Choose View > Snapping (or press N). A checkmark next to the menu item indicates that snapping is on. • Click the Snapping button in the top-right corner of the timeline. When snapping is on, the Snapping button is highlighted. Tip: To turn snapping on or off temporarily, hold down the N key. When you release the N key, snapping reverts to its previous state. Navigate within your Final Cut Pro project The ability to jump to any point in the timeline instantly is one of the main benefits of a nonlinear editing environment. Final Cut Pro provides a variety of quick and easy ways to navigate your project. You can also use a text-based view of the timeline to navigate and search your project. See Show a list-based view of your project. You can use the J, K, and L keys to play through a project with different speeds or directions. See Play media. Navigate by skimming, clicking, or dragging In Final Cut Pro, do any of the following: • Skim to a frame in your project: Move the skimmer left and right over the clips in the timeline to quickly view them in the viewer. • Move the playhead to a frame in your project: Move the playhead by clicking or dragging in the ruler at the top of the timeline, or by clicking the timeline background. Tip: To prevent the playhead from moving while you select a clip in the timeline, press Option as you click. Navigate frame by frame To make it easier to find specific frames in a clip, you can step through the filmstrip frame by frame, rather than skimming it. 1. In the Final Cut Pro timeline or browser, move the pointer over a filmstrip, then click. 2. Do any of the following: • Move backward in one-frame increments: Choose Mark > Previous > Frame (or press the Left Arrow key). • Move forward in one-frame increments: Choose Mark > Next > Frame (or press the Right Arrow key). Final Cut Pro User Guide 188 Navigate subframe by subframe You can navigate clips by subframes. A subframe has 1/80 the duration of a video frame and is a more precise unit of reference when viewing or editing audio waveforms that are zoomed in to the sample level. Note: You can’t make edits to video at the subframe level. 1. In the Final Cut Pro timeline or browser, move the pointer over a clip, then click. 2. Do any of the following: • Move backward in one-subframe increments: Press Option-Left Arrow. • Move forward in one-subframe increments: Press Option-Right Arrow. Note: You can change the timecode display below the viewer to show subframes. See Editing preferences. Navigate by jumping You can move the playhead quickly from point to point in the timeline. In Final Cut Pro, do any of the following: • Go to the next edit point: Choose Mark > Next > Edit (or press the Down Arrow key). • Go to the previous edit point: Choose Mark > Previous > Edit (or press the Up Arrow key). • Go to the start of the project: Choose Mark > Go to > Beginning (or press the Home key). • Go to the end of the project: Choose Mark > Go to > End (or press the End key). • Go to the next marker: Choose Mark > Next > Marker, or press Control-Apostrophe (’). • Go to the previous marker: Choose Mark > Previous > Marker, or press Control-Semicolon (;). For more information about markers, see Intro to markers. Navigate using timecode in Final Cut Pro Timecode is a signal recorded with your video that uniquely identifies each video frame. When you play a clip from the browser, its timecode signal appears in a display below the viewer, using this format: Timecode supports a variety of functions in Final Cut Pro, including timeline playback, syncing video and audio clip items, and adding, trimming, and moving clips. In addition, timecode allows you to navigate through projects in the timeline and see the duration of clips, range selections, and projects. Final Cut Pro User Guide 189 To move the playhead to a new timeline location in Final Cut Pro, do any of the following: • Move the playhead to a specific timeline location: Click once in the center of the timecode display below the viewer (or press Control-P), enter the new timecode value, and press Return. For example, to move the playhead to 01:40:31:03, press Control-P, then enter “1403103” and press Return. • Move the playhead by a timecode duration: Make sure no clips are selected, then press the Plus Sign (+) or Minus Sign (–) key, enter the number of frames, seconds, or minutes you want to move the playhead, and press Return. For example, if you type “+1612” and press Return, the playhead moves ahead 16 seconds and 12 frames. The new timecode values appear in the timecode display as you enter them. When you press Return, the playhead moves to the new timeline location. Here are some tips for entering timecode values: • You don’t have to enter the separator characters (colons). Final Cut Pro adds them automatically after each set of two digits. For example, if you enter “01221419,” the timecode value is interpreted as 01:22:14:19 (1 hour, 22 minutes, 14 seconds, and 19 frames). • If the leftmost fields are zeros, you don’t have to enter them. For example, if you enter “1419,” the timecode value is interpreted as 00:00:14:19. If you enter “253407,” the timecode value is interpreted as 00:25:34:07. • If the rightmost fields are zeros, you can use periods instead. For example, to move to timecode 00:00:03:00, type “3.” (3 and a period). To move to 03:00:00:00, type “3...” (3 and three periods). Instead of a period, you can also use a comma, colon, or semicolon. • You can copy and paste timecode (for example, to speed up timeline navigation or numerical entry from text documents, or to add timecode to notes). To copy timecode from the playhead position, choose Edit > Copy Timecode. To paste timecode into the timecode display, click once in the center of the timecode display below the viewer (or press Control-P), then press Control-V. For other ways to copy timecode, see Copy source or project timecode. You can change the timecode display to show either timecode, timecode and subframes, just frames, or just seconds. See Editing preferences. Tip: You can view source and project timecode in resizable, floating windows, or set Final Cut Pro to show clip source timecode (rather than the project timecode) when you skim clips in the timeline. Final Cut Pro User Guide 190 View source and project timecode in Final Cut Pro You can view timecode in a resizable, floating window while you’re working on a project in the timeline. You can view either source timecode (the timecode originally embedded in the source clip) or project timecode (the time elapsed since the project’s starting timecode). The source timecode window shows the names and source timecode of all the clips at the current playhead position in the timeline, starting with the topmost clip. Showing source timecode makes it easy to match or locate specific moments in a source clip. The project timecode window shows the project timecode at the current playhead position in the timeline. You can place the project timecode window anywhere on your screen and enlarge it to make it more readable. You can also set Final Cut Pro to show clip source timecode (rather than the project timecode) when you skim clips in the timeline. Final Cut Pro User Guide 191 Show source or project timecode in a floating window 1. In Final Cut Pro, do one of the following: • Show source timecode: Choose Window > Source Timecode, or Option-click in the center of the timecode display below the viewer. Tip: Select a clip in the timeline to highlight the corresponding row in the source timecode window with a yellow box. • Show project timecode: Choose Window > Project Timecode, or Shift-click in the center of the timecode display below the viewer. 2. To adjust timecode window display settings, use the pop-up menu in the upper-right corner of the source timecode window or project timecode window. The following settings are available for the source timecode window: • Project Timecode: Show or hide the project timecode at the top of the source timecode window. • Source Timecode: Show or hide the source timecode for all the clips at the current playhead position. • Clip Names: Show or hide the clip names for all the clips at the current playhead position. • Clip Roles: Show or hide the assigned roles for all the clips at the current playhead position. The following setting is available for both timecode windows: • Background: Set the opacity of the timecode window background to 50%, 75%, or Solid. 3. To resize the timecode window, do any of the following: • Resize the timecode and text: Drag a corner of the source or project timecode window. • Show more or fewer rows: Drag the bottom edge of the source timecode window. • Provide more or less space for the clip names: Drag the right edge of the source timecode window. Copy source or project timecode When editing a project, you sometimes need to copy timecode from one app to another— for example, from clips in your project to a spreadsheet, an EDL, or an email. 1. In Final Cut Pro, show the source timecode window or the project timecode window. See Show source or project timecode in a floating window, above. 2. Control-click a timecode item in the source timecode window or the project timecode window, then choose one of the following: • Copy Timecode: Copy the timecode for the item you clicked. • Copy [item]: Copy the timecode, clip name, and assigned roles for the item you clicked. • Copy All: Copy the timecode for all items in the window. The timecode information is copied to the Clipboard. You can now paste it into any app or document that accepts text. Final Cut Pro User Guide 192 Show source timecode when skimming clips in the timeline By default, when you skim clips in the timeline, the timecode display shows the project timecode, but you can set Final Cut Pro to show source timecode instead. 1. To turn on video and audio skimming in Final Cut Pro, do one of the following: • Choose View > Skimming (or press S), so that a checkmark appears next to the menu item. • Click the Skimming button in the top-right corner of the timeline. When skimming is on, the Skimming button is highlighted. 2. Choose View > Clip Skimming, so that a checkmark appears next to the menu item. 3. In the timeline, position the pointer on a clip’s filmstrip, then skim. The clip’s source timecode appears in the timecode display as you skim. If you move the pointer above or below the clip’s filmstrip, the timecode display shows the project timecode. Note: When skimming is turned off, you can still view source timecode for timeline clips by skimming with the Blade, Trim, and Range Selection editing tools. See Skim clips with editing tools. Show a list-based view of your Final Cut Pro project The timeline index provides a list of the clips, tags (various kinds of markers and keywords), and roles used in your project in the timeline. You can easily filter items in the timeline index to show only the ones you want to see. You can also use the timeline index to navigate in the timeline. The timeline index playhead appears in the list of items. When you play a project, the playhead moves down the list of items in the timeline index. When you select an item in the timeline index, the playhead automatically moves to the beginning of the item. Show or hide the timeline index • In Final Cut Pro, click Index in the top-left corner of the timeline (or press ShiftCommand-2). Final Cut Pro User Guide 193 The timeline index appears to the left of the timeline. View a list of items in the timeline index 1. In Final Cut Pro, open the timeline index. 2. Do any of the following: • View a list of the clips used in the timeline, ordered chronologically: Click the Clips button at the top. You can do any of the following: • Rename clips. • See a list of clips by timecode in the Position column. • View, reassign, and edit roles in the Roles column. • View and add notes in the Notes column. • View the active angles of multicam clips in the Active Angle column. Final Cut Pro User Guide 194 You can specify which columns are displayed by Control-clicking a column heading and choosing an option. You can specify which items are displayed by clicking the All, Video, Audio, or Titles button at the bottom of the timeline index. • View a list of all the tags on clips in the timeline, ordered chronologically: Click the Tags button at the top. Tags include keywords and various kinds of markers—standard markers, chapter markers, and completed and incomplete to-do items. All of the tags are shown by default. You can specify which items are displayed by clicking a button at the bottom of the timeline index. You can show markers, keywords, analysis keywords, incomplete to-do items, completed to-do items, and chapter markers. Final Cut Pro User Guide 195 • View a list of roles in the timeline, and control the arrangement of the timeline: Click the Roles button at the top. Select a role name in the list to highlight all clips in the timeline with that role assigned. To turn a role on or off in the timeline, select or deselect the checkbox next to the role name. When a role is turned off, you can’t see or hear clips with that assigned role when you play back your project. See Intro to roles and Organize the timeline with audio lanes. Search for items in the timeline index 1. In Final Cut Pro, click a button at the top of the timeline index to open the pane you want to search. Click Clips to search for clips, Tags to search for tags, or Captions to search for captions. 2. Enter a term in the search field at the top of the timeline index. You can search for clips, keywords, markers (including to-do items), and captions. You can also search for keywords that are added automatically by Final Cut Pro, such as “Missing.” Tip: With the timeline active, choose Edit > Find (or press Command-F). The timeline index opens with the search field active and ready for your search term. Work with markers Intro to markers in Final Cut Pro Markers are reference points you can place within clips to locate, identify, annotate, and navigate to specific frames. In Final Cut Pro, you can use markers to: • Sync two or more clips at a specific point. For example, you can use a marker to label the frame where a door slams and then snap a sound effect to that marker. • Flag a specific location in a clip with editing notes or other descriptive information. • Add chapter markers to specific points in your project, so that viewers can jump to those points in the movie after it’s been exported or burned to a DVD or Blu-ray disc. • Manage to-do items in your project. Final Cut Pro User Guide 196 Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). You work with markers in the same way for clips in the browser and clips in the timeline. Add and remove markers in Final Cut Pro It’s easy to add and remove markers. If you add markers to clips in the browser, the markers are visible in both filmstrip view and list view. When you add clips with markers to the timeline, the markers are visible in both the timeline and the timeline index. Add a marker to a clip in the browser or the timeline 1. To specify where you want to add a marker in Final Cut Pro, do one of the following: • Skim to the location. • Play the clip, and when the playhead reaches the location where you want to add a marker, press the Space bar to stop playback. For more information about positioning the skimmer and the playhead, see Navigate within your project. 2. Do one of the following: • Add a marker: Choose Mark > Markers > Add Marker (or press M). Tip: To add markers on the fly, just press M while playing a clip. • Add a marker and show the marker’s information: Choose Mark > Markers > Add Marker and Modify (or press Option-M). See Edit marker information and change marker types. Final Cut Pro User Guide 197 The marker appears at the top of the clip in the browser or the timeline. Event clip markers also appear in the filmstrip and text list in the browser in list view. Remove a marker In Final Cut Pro, do one of the following: • Navigate to a marker, then choose Mark > Markers > Delete Marker (or press Control-M). • Select one or more clips, then choose Mark > Markers > Delete Markers in Selection. • Double-click a marker to show the marker controls, then click the Delete button. • Control-click the marker you want to remove, then choose Delete Marker. Edit and move markers in Final Cut Pro You can view and edit marker information, and you can move markers within a clip or to different clips. Edit marker information and change marker types By default, new markers are blue standard markers with placeholder text. You can change the text at any time, and you can change the marker to other marker types, including chapter markers, to-do items, and completed to-do items. 1. In Final Cut Pro, do one of the following: • Select the marker, then choose Mark > Markers > Modify Marker (or press Shift-M). • Control-click the marker and choose Modify Marker. • Double-click the marker. Final Cut Pro User Guide 198 The marker controls appear above the marker. 2. To modify the marker, do any of the following: • Change the descriptive text for the marker: Type the new text in the text field. (The text is automatically selected when the marker controls appear, so you don’t need to select it.) • Make the marker a chapter marker: Click the Chapter Marker button. The marker turns into an orange chapter marker. See Add chapter markers. • Make the marker a to-do item: Click the To-Do Item button. The marker turns red. • Indicate that a to-do item is completed: Select the Completed checkbox. The marker turns green. • Make the marker a standard marker: Click the Standard Marker button. The marker turns blue. 3. Click Done. Move or copy a marker You can move or copy markers using the familiar Cut, Copy, and Paste commands. 1. In Final Cut Pro, Control-click the marker you want to move or copy, then choose an option. • Move the marker: Choose Cut Marker. • Copy the marker: Choose Copy Marker. Final Cut Pro User Guide 199 2. Position the skimmer or the playhead where you want to move or copy the marker. 3. Choose Edit > Paste (or press Command-V). The marker appears at the new location. Nudge a marker one frame at a time 1. In Final Cut Pro, click a marker to select it. 2. Do one of the following: • Nudge the marker one frame to the right: Choose Mark > Markers > Nudge Marker Right, or press Control-Period (.). • Nudge the marker one frame to the left: Choose Mark > Markers > Nudge Marker Left, or press Control-Comma (,). Navigate between markers You can move quickly from marker to marker in the timeline or the browser. In Final Cut Pro, do any of the following: • Go to the next marker: Choose Mark > Next > Marker, or press Control-Apostrophe (’). • Go to the previous marker: Choose Mark > Previous > Marker, or press Control-Semicolon (;). Add chapter markers in Final Cut Pro Chapter markers are a standard feature in DVDs, Blu-ray discs, and podcasts. You can add chapter markers to your project so that when you share your finished movie, viewers can use the markers to quickly jump to those points in the movie. Apps and devices that recognize Final Cut Pro chapter markers during playback include iPod, iPhone, iPad, Apple TV, QuickTime Player, DVD Player, and most standard DVD and Blu-ray players. Chapter markers make it easy for viewers to skip ahead to the section they want. They also allow Compressor, Apple’s professional transcoding app, and other DVD and Blu-ray authoring apps to create a navigable chapter list or menu, such as a chapter index menu. But even in simple projects without menus (such as podcasts), chapter markers let viewers and listeners quickly skip through sections of a program using the Previous and Next buttons on their playback app or device. A chapter marker thumbnail is a still image that represents a particular chapter. In Final Cut Pro, you can choose a specific video frame from the clip or storyline you’re marking as the chapter marker thumbnail image. In supported playback apps or devices, the chapter marker thumbnail images represent their corresponding chapters. Create a chapter marker 1. In Final Cut Pro, add a marker to a clip in the timeline where you want the chapter to begin. By default, Final Cut Pro creates a blue standard marker. Final Cut Pro User Guide 200 2. To change the marker to a chapter marker, double-click it and, when the marker controls appear, click the Chapter Marker button. The marker changes to an orange chapter marker. Set the chapter marker thumbnail image After you set a chapter marker, you can choose an appropriate video frame to represent that particular chapter. 1. In Final Cut Pro, click the chapter marker once in the timeline to select it. The marker enlarges slightly to show that it’s selected, and a chapter marker thumbnail pin appears to the right of the selected chapter marker. By default, the chapter marker thumbnail pin appears 11 frames after the chapter marker. 2. To set the video frame for the chapter marker thumbnail image, drag the pin left or right in the timeline. As you drag, the viewer displays the corresponding video frame. Final Cut Pro User Guide 201 Note: The chapter marker thumbnail image is the composited image from that location in the timeline and includes titles and any other superimposed imagery. If the chapter marker is in the primary storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the primary storyline. If the chapter marker is in a connected storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the connected storyline. For information about sharing your completed movie, see Intro to sharing projects. Correct shaky video in Final Cut Pro You can smooth a clip’s shaky footage by correcting the stabilization, rolling shutter, or both. The stabilization feature in Final Cut Pro reduces the camera motion in your video so that shaky parts can be played back more smoothly. You can turn off stabilization for any clip so that it plays as originally recorded. Many camcorders and still cameras include CMOS image sensors that expose the picture they’re recording progressively, instead of all at once. As a result, if the camera moves a lot during recording, or if the camera records fast motion, image distortion can occur. This causes the picture to appear wobbly or skewed. Final Cut Pro has a rolling shutter feature that can reduce this motion distortion. Fix a clip with excessive shake or rolling shutter distortion 1. If the clip isn’t already in your Final Cut Pro project, add it to the timeline, then select it. Tip: Stabilization and rolling shutter corrections operate on whole-clip selections, not on range selections. To get the highest-quality and fastest results, isolate the problem section by cutting the clip with the Blade tool in the timeline. Then apply the correction to just the video footage that needs correcting. 2. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. Scroll down to the Stabilization and Rolling Shutter sections. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 202 5. In the Video inspector, do any of the following: • Reduce the shake: Select the Stabilization checkbox. If you turn on Stabilization, its checkbox turns blue and Final Cut Pro analyzes the clip for the best stabilization method. See Adjust stabilization settings, below. • Reduce rolling shutter distortion: Select the Rolling Shutter checkbox. 6. To view the fix, play the clip in the timeline. To turn off stabilization or rolling shutter corrections for a clip, deselect the Stabilization or Rolling Shutter checkbox. Adjust stabilization settings You can adjust how much of a correction is applied by the stabilization feature. Stabilization has two independent phases: • When you apply stabilization to a clip, Final Cut Pro analyzes the pixels in successive frames to determine the direction of camera movement. • During playback and rendering, Final Cut Pro uses the motion analysis data to apply a transform effect to each frame, compensating for camera movement. Use the available sliders in the Video inspector to control the steadiness of your shot. The higher you set the value of each parameter, the more camera motion is compensated for. A value of 0.0 turns off the parameter. 1. In Final Cut Pro, select a clip in the timeline, then open the Video inspector. 2. Select the checkbox for Stabilization or Rolling Shutter. If you turn on Stabilization, its checkbox turns blue and Final Cut Pro analyzes the clip for the best stabilization method. By default, the Method pop-up menu remains set to Automatic and the sliders for the appropriate stabilization method (either InertiaCam or SmoothCam) appear below it. Final Cut Pro User Guide 203 3. If you want to change the stabilization method, click the Method pop-up menu and choose an option: • Automatic: Allows Final Cut Pro to choose the most appropriate stabilization method (either InertiaCam or SmoothCam). This is the default setting. • InertiaCam: Applies stabilization optimized for video footage that has camera moves such as pans and zooms. Use the Smoothing slider to adjust the amount of the InertiaCam effect. Note: When you choose InertiaCam, Final Cut Pro analyzes your video footage and, depending on the results of the analysis, provides a Tripod Mode checkbox that creates the effect of a static camera that is mounted on a tripod. • SmoothCam: Applies the default stabilization method described above, allowing you to adjust the translation, rotation, and scale parameters: • Adjust left, right, up, and down movement of a shot (x and y axes): Drag the Translation Smooth slider. • Adjust rotation around the center point of the image: Drag the Rotation Smooth slider. • Adjust forward or backward camera or lens movement (z axis): Drag the Scale Smooth slider. For example, if you want to remove horizontal, vertical, and rotational shake, set the Translation Smooth and Rotation Smooth parameters to a value greater than 0. You may need to experiment to see which values steady your shot the best. Note: When a clip has too much motion (excessive panning, for example), stabilizing the clip may result in black bars on the edges of the video. To avoid the black bars, you can: • Reduce the values for the Translation Smooth, Rotation Smooth, and Scale Smooth parameters. • Cut or trim the clip in the timeline to remove the sections with the most shake. (You can locate the sections with excessive shake in the Tags pane of the timeline index. Click the individual Excessive Shake tags to select the corresponding ranges in the timeline.) • Crop the edges of the stabilized video to remove the black bars. Final Cut Pro User Guide 204 Edit audio Intro to audio in Final Cut Pro Final Cut Pro has many features designed to make processing and editing audio easier. For example, you can analyze and automatically enhance audio to address problems such as noise or hum, add effects to your clips, sync video and audio clips automatically, and match audio between two clips. You can make the following changes to clips or to audio components within a clip: • Edit multiple audio channels: Expand the audio portion of clips to reveal and edit audio components down to the individual channel level. This allows you to apply different effects to different components or channels, and streamlines the process for making quick sound cutouts or other adjustments. See Intro to audio editing. • Adjust volume: Quickly adjust a clip’s volume directly in the timeline or in the Audio inspector. See Adjust volume. • Pan audio: Take advantage of built-in pan presets for both stereo and surround sound. See Pan audio. • Add audio effects: Add Audio Units effects, Logic Effects, or custom effects included with Final Cut Pro, such as reverb, to clips. See Add audio effects. • Add keyframes to automate volume and effects: Use keyframes to vary volume or effect settings as a clip plays. See Keyframe audio effects. • Fade audio in or out: Fade audio in at the beginning or out at the end of a clip or an audio component with easy-to-use fade handles. See Fade audio in and out. Final Cut Pro User Guide 205 For the most part, you use the same tools to edit audio clips that you use to edit video in Final Cut Pro. The following editing features are covered elsewhere in the Final Cut Pro User Guide: • Use roles to manage clips: Use roles and subroles in Final Cut Pro to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems). See Intro to roles. • Organize the timeline using audio lanes: With a single click, arrange clips into audio lanes (separate, visually distinct layers) in the timeline. This view organizes clips visually and provides reference points that make editing easier and more efficient. See Organize the timeline with audio lanes. • Change the edit mode: Set the edit mode for a clip to video only or audio only. See Add only a clip’s video or audio. • Add markers to clips: Mark specific reference points within an audio clip. See Intro to markers. • Trim audio: Make precision edits to the audio waveform—for example, to take out an unwanted sound in the recording. See Intro to trimming. • Add audio crossfades: Create a smooth transition when connecting two separate audio waveforms. See Add transitions. • Use compound clips: Combine any video or audio clips into a single compound clip. See Intro to compound clips. • Export audio: Export your project as an audio file in either mono, stereo, or surround sound. You can also export media by role. See Intro to sharing projects. Audio editing basics Audio waveforms in Final Cut Pro Audio waveforms are visual representations of the actual sound. Audio waveforms appear in clips in the following ways: • As the bottom portion of a video clip Final Cut Pro User Guide 206 • As a detached or audio-only clip An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. In Final Cut Pro, audio waveforms change according to a clip’s volume level or applied effects. The waveform appears larger when the volume is high and smaller when the volume is low. Note: Clip colors are determined by role assignments. Each role has a default color. Video clips (including clips containing video and audio) are assigned the Dialogue role and are blue. Music clips are assigned the Music role and are green. Sound effects clips are assigned the Effects role and are teal. See View and reassign roles. Audio channels and components in Final Cut Pro Audio files can contain a single audio channel or multiple audio channels. Channels usually correspond to microphone inputs during recording or to speakers for multichannel output. For example, a stereo audio file usually contains left and right channels that match what you hear from the left and right speakers during playback. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to view and edit audio components down to the individual channel level. You can then make separate volume or pan adjustments or apply and keyframe different audio effects for each component. See Intro to audio editing. The number of audio components you see corresponds to the number of channels you’ve configured in your source clip. Final Cut Pro User Guide 207 Note: Many popular digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. A stereo clip with interleaved left and right channels appears as a single audio component in the Audio inspector and the timeline. If you change the clip’s channel configuration from Stereo to Dual Mono, the channels appear as two separate audio components. See Configure audio channels. Ways to view audio clips in Final Cut Pro When you work with audio waveforms in the timeline, you can zoom in or out or change the clip appearance to make the waveform taller or shorter. Final Cut Pro also provides several ways to view and work with audio and video within clips. You can: • Expand a clip to view and edit audio components down to the individual channel level • Expand a clip to see separate audio and video • Detach audio from a video clip to work on the audio and video as separate, independent clips • Change the background appearance of a clip to show reference waveforms, which make it easier to see audio waveforms when the volume is diminished Show expanded audio components You can expand the audio portion of clips in Final Cut Pro to view and edit audio components. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). Final Cut Pro User Guide 208 • Double-click the audio portion of the clip in the timeline while holding down the Option key. Note: You can also show audio components for all the clips in one or more roles. See Organize the timeline with audio lanes. Collapse audio components In Final Cut Pro, do one of the following: • Select either the clip or one of its audio components in the timeline, then choose Clip > Collapse Audio Components (or press Control-Option-S). • Double-click any of the audio components in the timeline while holding down the Option key. Show expanded audio and video You can view audio and video separately in the same clip in the timeline by expanding clips that have both audio and video. This can be useful if you need to zoom in to the audio portion to make edits or to create a split edit. If you create a split edit so that audio portions overlap, you won’t clearly see the overlapped waveforms unless you choose to show expanded audio for split clips. For more information about split clips and split edits, see Create split edits. In Final Cut Pro, do one of the following: • Expand a single clip: Double-click the clip’s audio waveform. • Expand a clip or clips you’ve selected in the timeline: Choose Clip > Expand Audio (or press Control-S). Final Cut Pro User Guide 209 When you show expanded audio, the audio and video portions of the clip remain attached to each other. To create a separate connected audio clip, detach the audio. You can also use the precision editor to see a detached view of the video and audio portions of the clip. Note: You can also show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Collapse audio and video You can collapse the expanded audio/video view for a single clip or multiple clips. In Final Cut Pro, do one of the following: • Collapse a single clip: Double-click the clip’s audio waveform. • Collapse a clip or clips you’ve selected in the timeline: Choose Clip > Collapse Audio (or press Control-S). Detach audio from video By default, Final Cut Pro imports audio and video from the same source into one clip. You can easily detach the audio from a video clip so that you can edit the audio clip separately in the timeline. • In Final Cut Pro, select the clip in the timeline, then choose Clip > Detach Audio. Final Cut Pro User Guide 210 A new audio clip appears as a connected clip beneath the video clip. To reattach an audio clip to its original video clip, you need to create a compound clip. Show or hide reference waveforms A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness changes, reference waveforms let you see the details of the sound more clearly. 1. Choose Final Cut Pro > Preferences, then click Editing. 2. Select the “Show reference waveforms” checkbox. When the actual waveform changes shape (for example, when it’s diminished because a clip’s volume level is low), its full reference waveform is still visible for easy reference when editing. Zoom in to audio waveforms in Final Cut Pro For even more precise editing, you can zoom in to audio clips at the audio sample level. Audio samples show the audio waveform at a fraction of a second (for example, 1/48,000 for audio recorded at a sample rate of 48 kHz). Zoom to audio samples 1. In Final Cut Pro, choose View > Zoom to Samples (or press Control-Z), so that a checkmark appears next to the menu item. Note: The Zoom to Samples feature is enabled by default. 2. Position the playhead over a clip in the timeline. Final Cut Pro User Guide 211 3. Zoom in until the clip shows a gray overlay indicating the borders of a video frame. You can continue to zoom in for a closer view of the waveform. 4. Make edits to the clip, or make adjustments to audio effects using keyframes. Note: Sample-accurate editing (such as cutting with the blade tool or trimming) is available only for connected audio clips (that is, audio clips not in the primary storyline) or compound clips that contain only audio. To turn off zooming to audio samples, choose View > Zoom to Samples (or press Control-Z). Navigate by subframe You can navigate by subframes (which are 1/80 the duration of a video frame). 1. In the Final Cut Pro timeline or browser, position the playhead or skimmer over a clip. 2. Do any of the following: • Move backward in one-subframe increments: Press Option-Left Arrow. • Move forward in one-subframe increments: Press Option-Right Arrow. Tip: For reference when working with video, you can view subframes in the timecode display below the viewer. In the General pane of Final Cut Pro preferences, click the Time Display pop-up menu and choose the subframe option. View and change audio levels in Final Cut Pro The audio meters show the audio levels of clips in Final Cut Pro and warn you if a particular clip or section of a clip reaches peak levels, which may result in audible distortion. When an audio clip is approaching peak levels during playback, the level color changes from green to yellow. When an audio clip exceeds peak levels, the level color changes from yellow to red, and the peak indicator turns red for the respective audio channel or channels. The peak indicators are reset when you stop and start playback. Final Cut Pro User Guide 212 To avoid having clip volume exceed peak levels, adjust the volume. Although the proper level for a clip depends on the mix, it’s important to make sure that the combined level for all concurrent clips doesn’t exceed 0 dB during the loudest sections. Show the audio meters Final Cut Pro includes a small audio meters icon below the viewer and larger audio meters that can be shown to the right of the timeline. In Final Cut Pro, do one of the following: • Choose Window > Show in Workspace > Audio Meters, so there’s a checkmark next to the menu item. • Click the audio meters icon below the viewer. You can drag the edges of the meters to see an expanded view with additional information. To hide the audio meters, choose Window > Show in Workspace > Audio Meters, or click the audio meters icon below the viewer. Note: The number of audio meters you see depends on how many channels are configured for the clip you’re playing. For example, when you play back a surround clip in the browser, six surround audio meters are displayed, but if you drag that same clip into a stereo project in the timeline, Final Cut Pro automatically mixes down the surround audio into stereo, and only two audio meters are displayed. For information about changing a project from stereo to multichannel surround sound, see Modify a project’s settings. For information about channel configurations, see Configure audio channels. Final Cut Pro User Guide 213 Reset and correct peak levels 1. In Final Cut Pro, select the clip in the timeline. 2. Adjust the volume, and play back the clip again to test for peaks. In the timeline and browser, the waveform section or sections of a clip turn yellow when a level is approaching peak levels, and red when a level exceeds 0 dB. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Solo and mute audio clips in Final Cut Pro The solo feature enables audio playback of only the selected clips in the timeline and temporarily disables audio playback for all other clips. It’s especially useful in audio editing if you have more than one audio clip layered in the timeline (dialogue and background music, for example) but need to listen and make edits to just certain clips. Another way to mute clips is to disable them. Disabled clips are both invisible and silent and do not appear in any output. Solo clips in the timeline 1. In Final Cut Pro, select one or more clips in the timeline that you want to listen to (in isolation from any other clips). 2. Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the top-right corner of the timeline. The soloed clip appears highlighted, and other clips appear dimmed. To turn off solo, click the Solo button, or choose Clip > Solo (or press Option-S) again. Final Cut Pro User Guide 214 Disable clips or ranges 1. In Final Cut Pro, select one or more clips in the timeline. Note: If the selected clips contain both video and audio, and you want to mute the audio only, choose Clip > Expand Audio or Clip > Expand Audio Components, then select the audio portion only (or drag to select a range). 2. Choose Clip > Disable (or press V). Disabled clips are both invisible and silent and do not appear in the viewer or in any output. The filmstrips of disabled clips appear dimmed in the timeline. To reenable the disabled clips, select them in the timeline and choose Clip > Enable (or press V). Silence clips or ranges You can silence a selected clip or range. This technique is simply a quick and easy way to adjust the volume. 1. In Final Cut Pro, select one or more clips in the timeline, or select a range. 2. Choose Modify > Adjust Volume > Silence (–∞). The selection is silenced, and the volume control for the clip or range is set to –∞ dB. (You can confirm this level in the Audio inspector.) To restore the original audio level for the selected clip or range, choose Modify > Adjust Volume > Reset (0dB). Important: If you import clips with unwanted audio that you will never use, you can ensure the best playback performance by deselecting the audio components of these clips in the Audio inspector. See Disable a clip’s audio. You can also solo or disable video clips. See Solo or disable clips. Add audio Add music and sound in Final Cut Pro You can add music and sound files directly to a project or an event from your Music library or other sources. Final Cut Pro also includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. If you have a clip that contains both audio and video, you can choose to insert only the audio portion of the clip. See Add only a clip’s video or audio. Final Cut Pro User Guide 215 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). 2. In the Photos and Audio sidebar, select the sound category or app you want to browse. The audio clips in that category appear in a list in the browser. The Photos and Audio sidebar includes a Sound Effects category and a list of music and sound apps, such as Music, GarageBand, or Logic Pro (the apps you see depend on which apps you’re using on your Mac). 3. To find the music or sound you want to use, do any of the following: • Search and filter the collection: Use the pop-up menu at the top of the browser to filter the items shown in the browser. For example, you could select Music in the sidebar and then choose Purchased from the pop-up menu, or select Sound Effects and then choose Final Cut Pro Sound Effects > Impacts & Crashes. • Preview an item: Select an item in the list, then click the Play button . • Select more than one item: Command-click each item. Final Cut Pro User Guide 216 4. When you’ve selected the clip or clips you want to use, do one of the following: • Drag the sound clip or clips to the timeline. • Drag the sound clip or clips to the sidebar. The Photos and Audio sidebar changes to the Libraries sidebar, allowing you to add the files to an event or a Keyword Collection. After you drag the files, the Photos and Audio sidebar reappears. For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Record voiceovers in Final Cut Pro You can record voiceover narration or other live audio directly in Final Cut Pro from input sources such as built-in and external microphones. By default, Final Cut Pro includes an automatic countdown when you record, and also automatically groups multiple takes into auditions so that you can quickly preview recordings and choose the best one. The recorded audio files appear both in the browser and as connected clips in the timeline. Record live audio 1. In Final Cut Pro, position the playhead where you want to start recording in the timeline. 2. Choose Window > Record Voiceover. Tip: To start recording immediately without adjusting settings, press Option-Shift-A and go to step 7. Final Cut Pro User Guide 217 3. To adjust the input level of the microphone, do one of the following: • Drag the Input Gain slider right to increase the input level, or left to decrease it. • Type a dB value in the Input Gain field. Use the audio meters to make sure the volume doesn’t exceed peak levels (shown in red), which may result in audible distortion. Note: If the Input Gain slider is dimmed for a selected input device, try adjusting the gain on the device itself or its software utility (if available). 4. To name your voiceover clip, click the Name field and type a name. 5. To specify other voiceover settings, click the Advanced disclosure triangle and do any of the following: • Change the input device or the number of input channels (mono or stereo): Click the Input pop-up menu and choose an option. The default choice of System Setting uses the first channel of the input device currently selected in the Sound pane of System Preferences. Tip: If you always want to record with a particular device or a particular channel on a multichannel audio device, choose that device/channel pair from the Input popup menu instead of System Setting. The setting is retained, and the Input pop-up menu indicates whether the device is available. • Listen to your microphone input as you record: Set Monitor to On. The microphone audio plays from the output device currently selected in the Sound pane of System Preferences. There’s no input signal when monitoring is off. Tip: To listen to a live mix of both microphone and project audio, set Monitor to On and deselect the “Mute project while recording” checkbox below. • Adjust the monitoring level: Drag the Gain slider right to increase the monitoring level, or left to decrease it (or type a dB value in the Gain field). Note: If the built-in microphone is selected, the Gain slider automatically resets to zero to prevent feedback from the built-in speakers when monitoring is turned on. To avoid feedback, use headphones or external speakers placed away from the microphone. • Turn off the automatic countdown before recording: Deselect the “Countdown to record” checkbox. • Unmute project audio while recording: Deselect the “Mute project while recording” checkbox. • Turn off automatic grouping of multiple voiceover takes into auditions: Deselect the “Create Audition from takes” checkbox. • Change where the recording is saved: Click the Event pop-up menu and choose an event in the current library. • Assign a role to the recording: Click the Role pop-up menu and choose a role. To create a new role, choose Edit Roles. See Intro to roles. 6. To start recording, click the Record button (or press Option-Shift-A). Final Cut Pro User Guide 218 7. To stop recording, click the Record button (or press the Space bar or Option-Shift-A). When you stop recording, the playhead returns to the start point you set in step 1, ready for you to record additional takes. If you record additional takes with the “Create Audition from takes” checkbox selected, Final Cut Pro creates an audition. See Combine audio from multiple takes and Create auditions. Your audio recordings are attached to the primary storyline at the playhead position. Record multiple voiceover takes You can record multiple versions, or “takes,” of voiceover recordings for the same section of your project. By default, Final Cut Pro creates an audition from all the takes you record. After you’ve finished recording, you can review the different takes in the audition and choose the one you want to use. 1. To record your first voiceover take in Final Cut Pro, follow the instructions in Record live audio, above. 2. Without moving the playhead, click the Record button (or press Option-Shift-A) to record another take for the same section of your project. 3. To stop recording, click the Record button again (or press the Space bar or Option-Shift-A). By default, Final Cut Pro creates an audition containing both recordings. To add another take to the audition, repeat steps 2 and 3. Each new take you record is added to the audition. To learn more about auditions, see Add clips to auditions. Final Cut Pro User Guide 219 Preview and select a voiceover take 1. In the Final Cut Pro timeline, select the audition containing the voiceover takes you want to review, then open it by choosing Clip > Audition > Open (or pressing Y). 2. In the audition window, select the take and press the Space bar (or press ControlCommand-Y) to play it. 3. When you decide on the take you want to use, make sure it’s selected, then click Done. 4. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the voiceover clip in the timeline. To learn more about previewing auditions, see Review clips in auditions. Combine audio from multiple takes By default, an audition lets you choose only one voiceover take to use in your project. If you want to combine portions of two separate takes into one “comp” take, you can break the audition into separate audio clips, which you can then edit and combine as needed. 1. In Final Cut Pro, select an audition in the timeline, then choose Clip > Break Apart Clip Items (or press Shift-Command-G). Final Cut Pro User Guide 220 Final Cut Pro replaces the audition selected in the timeline with the individual recordings that made up the audition. 2. Edit the clips as needed. Tip: You can silence unwanted sections rather than edit them out. See Adjust volume automatically across a selected area. Access external audio files in Final Cut Pro Post-production professionals often download stock music and sound effects and maintain their own library of audio files (in addition to more than 1300 royalty-free sound effects available in Final Cut Pro). You can create custom folders in the Sound Effects category of the Photos and Audio sidebar that link to external collections of audio files, providing quick access to the files from any Final Cut Pro project. These custom folders can contain multiple levels of subfolders so that your audio files remain organized the way you like. If you add or remove files in the external audio library, the changes appear in the Sound Effects category after you quit and reopen Final Cut Pro. The following instructions assume that you have an existing set of audio files (such as sound effects or music) in a folder on your Mac. 1. In the Finder, select the top-level folder that contains the audio files you want to access from Final Cut Pro. 2. Choose File > Make Alias (or press Command-L). 3. In the Finder, choose Go > Go to Folder, then enter the following in the “Go to the folder” field: /Library/Audio/Apple Loops/Apple/Final Cut Pro Sound Effects/ 4. Click Go. The Final Cut Pro Sound Effects folder opens in the Finder. 5. In the Finder, drag the alias of your custom audio folder into the Final Cut Pro Sound Effects folder. 6. Delete the word “alias” from the end of the folder name. Final Cut Pro User Guide 221 7. In Final Cut Pro, if the Photos and Audio sidebar isn’t already shown, do one of the following: • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). 8. In the Photos and Audio sidebar, select the Sound Effects category. 9. Click the pop-up menu above the search field in the upper-right corner of the browser. Your custom audio folder and any subfolders appear in the Final Cut Pro Sound Effects section of the menu. 10. To access the clips in your custom audio folder, do any of the following: • Choose your custom audio folder (or any of its subfolders) from the pop-up menu. • Type text in the search field to search for clips by name. The corresponding clips appear in the browser. To add audio clips from your custom audio folder to your projects or libraries, see Add music and sound. Note: By default, Final Cut Pro assigns the Effects role to every clip that is added from the Sound Effects category of the Photos and Audio sidebar. To change the role assignment for a clip, see View and reassign roles. Final Cut Pro User Guide 222 Edit audio clips or audio components Intro to audio editing in Final Cut Pro Final Cut Pro includes tools for editing audio clips or multiple audio channels. You edit audio in two ways, detailed below. Clip-level audio editing You can make audio adjustments and edits to whole clips. At this level, audio adjustments and effects are applied to the entire clip, including any audio channels within the clip. Final Cut Pro preserves any adjustments you make to individual audio channels. This means that if you reduce the volume for a single channel but raise the volume for the whole clip, the volume of the single channel is raised but stays in proportion to the volume of other channels in the clip. If your source media contains only one or two audio channels or you’re editing an audioonly clip, you may only need to make adjustments and edits at this level. Advanced multichannel audio editing Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to reveal and edit audio components down to the individual channel level. This allows you to apply different effects to different components and streamlines the process for making quick sound cutouts to a single microphone input or other fine adjustments. Important: Many digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. These files appear as a single audio component unless you change the clip’s channel configuration. Keep in mind the following when editing audio components in Final Cut Pro: • You view and change the audio channel configuration of your clips in the Audio Configuration section of the Audio inspector. You can enable or disable audio components and configure channels in mono, stereo, and surround formats. See Configure audio channels. • With the Range Selection tool, you can quickly select ranges within an audio component to target the audio you want to edit. • When you show audio components for compound clips, multicam clips, and synced clips, Final Cut Pro presents role components, which you can edit in the same way you edit standard components. See Work with audio roles in compound clips. Final Cut Pro User Guide 223 • You edit audio components in the same way you edit whole clips. You can: • Skim individual components when clip skimming and audio skimming are turned on. See Skim media. • Adjust the volume of a component. See Adjust volume. • Mute a component’s audio by disabling or silencing all or a portion of the component. This is the fastest way to remove unwanted sounds from a component. See Solo and mute audio clips. • Trim a component’s start and end points. See Extend or shorten clips. • Perform a roll edit on adjacent audio components. See Make roll edits. • Apply fades or use fade handles to fade audio in at the beginning of an audio component, or fade audio out at the end. See Fade audio in and out. • Pan the sound for individual components. See Pan audio. • Assign a role (specifically, a subrole) to a component. See Intro to roles and View and reassign roles. • Add or adjust audio effects for individual components. See Add audio effects or Adjust audio effects. • Adjust audio effects for individual components using keyframes. See Keyframe audio effects. For examples of multichannel audio editing workflows, see Multichannel audio editing examples. Configure audio channels in Final Cut Pro Final Cut Pro assigns a default channel configuration for audio clips when they’re imported or added to a project. You can change the channel configuration—for example, to convert a stereo dialogue clip to two mono channels. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. See Audio channels and components. In addition to changing the channel configuration, you can view and listen to audio components and enable or disable audio components. Change the channel configuration The number of channel options you can configure depends upon how many channels are in your source clip or compound clip. You can configure channels in several formats, including: • Mono: Single channel. In a surround sound setup, you can assign a mono channel to any surround channel. • Stereo: Left and right channels. • 5.1 surround: Left, center, right, left surround, right surround, and low-frequency effects (subwoofer bass) channels. If you configure more than six surround channels, Final Cut Pro automatically adjusts the channel mix down to 5.1 surround during playback. Final Cut Pro User Guide 224 Important: Changing the channel configuration resets all adjustments and edits made to audio components (including applied effects, disabled ranges, keyframe adjustments, and role assignments). 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, click the Channels pop-up menu and choose an option. The channels appear in the Audio inspector as separate audio components, each with its own waveform. To assign a mono channel to a specific surround channel, select the mono channel waveform, then click the Channels pop-up menu and choose an option. View and listen to an audio component 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, skim over a component or play it back using the Space bar or the J, K, and L keys. Enable or disable an audio component You can enable or disable audio components in a clip. For example, you may want to disable unused components in a clip. By default, all active audio components in a clip appear as selected in the Audio inspector and are arranged in the same order when the clip is expanded to show audio components in the timeline. To learn more about viewing audio components, see Ways to view audio clips. Final Cut Pro User Guide 225 When you disable an audio component, it appears dimmed in the Audio inspector and is removed from the clip’s component arrangement in the timeline. 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, do one of the following: • Disable a component: Deselect the checkbox next to the component waveform. • Enable a component: Select the checkbox next to the component waveform. Note: You can also disable an audio component in the timeline. Expand the clip’s audio components in the timeline, then select the audio component you want to disable and press Delete. You can also choose a channel configuration when exporting roles as audio stems for mixing or post-production. See Share roles as files. If you choose an export file channel configuration that is different from that of your source files, the channels are exported in the following ways: • Stereo source exported as surround: The left and right channels are exported to the left and right channels of the surround file. • Surround source exported as stereo: The surround source is exported as a stereo (left and right channel) mix. • Stereo or surround source exported as mono: The stereo or surround source is exported as a mono (one channel) mix. Adjust volume in Final Cut Pro You can adjust the volume levels of audio clips from the browser, the timeline, the Audio inspector, or the Modify menu. Volume adjustments you make from the Audio inspector or the Modify menu are applied to the entire selection. To make more precise adjustments, you can create keyframes in the clip, and then make adjustments to points between keyframes. See Keyframe audio effects. You can use the audio meters to make sure the volume doesn’t exceed peak levels, which may result in audible distortion. Final Cut Pro User Guide 226 Adjust volume in the timeline • In Final Cut Pro, drag the volume control (the horizontal line across the audio waveform) up or down. As you drag, the volume level in dB appears, and the waveform changes shape to reflect your adjustments. If you adjust the volume between two keyframes, the volume line slopes to show the change in volume between the keyframes. Adjust volume from the Modify menu or the keyboard 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Adjust the volume in +1 or –1 dB increments: Choose Modify > Adjust Volume, then choose Up or Down, or press Control-Plus Sign (+) or Control-Minus Sign (–). • Adjust the volume using an absolute dB value: Choose Modify > Adjust Volume > Absolute (or press Control-Option-L). The display below the viewer changes to show absolute dB values. Type a positive or negative value to change the absolute volume. The volume across the entire selection is set to one dB level, and any keyframe adjustments are deleted. • Adjust the volume using a relative dB value: Choose Modify > Adjust Volume > Relative (or press Control-L). The display below the viewer changes to show relative dB values. Type a positive or negative value to change the relative volume. The volume is adjusted by the same amount throughout the selection, preserving any fades or other keyframe adjustments. Final Cut Pro User Guide 227 • Silence the selected clip or range to 0 dB: Choose Modify > Adjust Volume > Silence (–∞). The selection is silenced, and the volume control for the clip or range is set to –∞ dB. • Restore the original audio level for the selected clip or range: Choose Modify > Adjust Volume > Reset (0dB). The volume of the selection is reset to 0 dB. If multiple clips are selected, the volume is adjusted for all clips. Adjust volume in the Audio inspector 1. In the Final Cut Pro browser or timeline, select one or more audio clips or video clips with audio. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the Audio inspector to switch between half-height view and full-height view. 4. In the Audio inspector, do one of the following: • Enter a value in the Volume field. If multiple clips are selected, the volume for all clips is set to the value you entered. • Drag the Volume slider right to increase the volume, or left to decrease it. If multiple clips are selected, the volume for all clips is adjusted relative to each clip’s original volume. Final Cut Pro User Guide 228 Adjust volume automatically across a selected area To adjust the volume of a clip in the timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. 1. In Final Cut Pro, select the clip in the timeline. 2. Click the Tools pop-up menu above the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . 3. Drag across the area where you want to adjust the volume. 4. To adjust the volume within the range, do one of the following: • Drag the horizontal control in the timeline up or down. (See Adjust volume in the timeline, above.) • Drag the Volume slider in the Audio inspector. (See Adjust volume in the Audio inspector, above.) • Choose Modify > Adjust Volume > Silence (–∞) to silence the range. Keyframes are automatically created along the adjustment points within the range. Reset all volume adjustments In Final Cut Pro, do one of the following: • In the browser or the timeline, select an audio clip or a video clip with audio, then click the Reset button in the Volume and Pan section of the Audio inspector. • Select a clip or a range in the timeline, then choose Modify > Adjust Volume > Reset (0dB). Disable a clip’s audio At times, you may import clips with unwanted audio that you will never use. You can disable the audio in these clips. To ensure the best playback performance, deselect the audio components of these clips in the Audio inspector. 1. In Final Cut Pro, select one or more clips in the timeline or the browser. Final Cut Pro User Guide 229 2. In the Audio Configuration section of the Audio inspector, deselect the checkboxes next to the component waveforms you want to silence. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Fade audio in and out in Final Cut Pro There are several ways to create audio fade-ins and fade-outs on the audio portions of clips or on audio components in Final Cut Pro: • Apply fades using the Modify menu: You can quickly apply fade-ins and fade-outs to selected clips or audio components from the Modify menu. You can change the default fade duration in Final Cut Pro preferences. • Create fades using fade handles: You can use fade handles to create manual fade-ins and fade-outs on the audio portion of a clip or an audio component in the timeline. Fade handles appear in the top-left and top-right corners of the audio waveform when you place the pointer over the clip. You can also change the fade’s shape by choosing one of several predefined options. Changing the fade shape changes the sound of the fade. Note: Fades created using fade handles override crossfades created by a transition. For information about crossfades, see Crossfade audio. Final Cut Pro User Guide 230 Apply fades using the Modify menu 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Choose Modify > Adjust Audio Fades > Apply Fades. Fades appear at the beginning and end of the selected clip or clips. Note: If you select a clip that already has a fade, the Apply Fades command does not override it. • Choose Modify > Adjust Audio Fades > Fade In. If there are no preexisting fades at the beginning of the selected clip or clips, fades appear at the beginning of the clips. If there are already fades at the beginning of the selected clip or clips, they are removed. • Choose Modify > Adjust Audio Fades > Fade Out. If there are no preexisting fades at the end of the selected clip or clips, fades appear at the end of the clips. If there are already fades at the end of the selected clip or clips, they are removed. 3. To adjust the duration of a fade, drag the fade handle to the point where you want the fade to begin or end. The default duration for fades is one half-second. To change the default duration, see Editing preferences. Tip: You can use the Command Editor to assign a keyboard shortcut to apply (or remove) only a fade-in or a fade-out. See Intro to the Command Editor. Final Cut Pro User Guide 231 Create a fade manually using fade handles • In the Final Cut Pro timeline, drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, and fade handles at the end of a clip create a fade-out. Fades complement any volume adjustments you’ve already made to a clip. For example, if you previously adjusted the volume lower at the beginning of a clip, the fade-in increases the volume from silence (–∞ dB) to the level you’ve already specified. Change the fade shape when using fade handles • In the Final Cut Pro timeline, Control-click a fade handle and choose a fade option: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two clips. • –3dB: Starts quickly and then slowly tapers off toward the end. Remove fades 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Choose Modify > Adjust Audio Fades > Remove Fades. Fades are removed from the beginning and end of the selected clip or clips. Final Cut Pro User Guide 232 • Choose Modify > Adjust Audio Fades > Fade In. If there are preexisting fades at the beginning of the selected clip or clips, they are removed. If there are no fades at the beginning of the selected clip or clips, fades appear at the beginning of the clips. • Choose Modify > Adjust Audio Fades > Fade Out. If there are preexisting fades at the end of the selected clip or clips, they are removed. If there are no fades at the end of the selected clip or clips, fades appear at the end of the clips. Crossfade audio in Final Cut Pro A crossfade is a common type of audio transition between two clips, in which the first clip’s audio fades down while the second clip’s audio simultaneously fades up. During the crossfade, audio from both clips is heard. Crossfades are similar to video transitions known as cross dissolves. You can add audio crossfades in the following ways: • Create crossfades using the Modify menu: You can quickly apply audio crossfades to any adjacent clips in the timeline. • Create a crossfade manually using fade handles: You can apply a crossfade to the edit point when trimming the audio waveform in clips. • Apply crossfades automatically when transitions are added: When you add a transition to a video clip with attached audio, a crossfade is automatically applied to the audio. If the audio is detached or expanded from the video, the crossfade is not applied. See Add transitions. Final Cut Pro User Guide 233 Create an audio crossfade using the Modify menu 1. In the Final Cut Pro timeline, select two or more adjacent audio clips or video clips with audio. 2. Choose Modify > Adjust Audio Fades > Crossfade (or press Option-T). Final Cut Pro creates the crossfade at the edit point between the selected clips using media handles. If one or both of the clips do not have enough extra content (media handles) to support a crossfade of the default duration, you’re given the option to overlap media in your project to create the crossfade. See How transitions are created. Note: You can set the default crossfade duration in Final Cut Pro preferences. See Editing preferences. For information about applying crossfades to connected clips, see the following instructions. Create a crossfade manually using fade handles 1. In Final Cut Pro, select two adjacent clips in the timeline, then choose Clip > Expand Audio (or press Control-S). The clips appear expanded. Final Cut Pro User Guide 234 2. Drag the end point of the first clip and the start point of the second clip so that the audio portions of the clips overlap. Note: Make sure to adjust the audio overlap to the length you want. 3. Drag the fade handles of each clip to the points where you want the fade to begin and end. To change the fade shape for each clip, follow the instructions in Change the fade shape when using fade handles. Change the fade shape of a transition crossfade You can change the shape of the fade handles in a transition crossfade that Final Cut Pro created automatically. 1. In Final Cut Pro, select a video transition in the timeline, then do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 235 2. In the Audio Crossfade section of the Transition inspector, click the Fade In Type pop-up menu or the Fade Out Type pop-up menu and choose a fade option: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two clips. • –3dB: Starts quickly and then slowly tapers off toward the end. Remove a crossfade In the Final Cut Pro timeline, do one of the following: • Trim each clip to a point beyond the crossfade. • Select both clips, align the audio to video, then choose Modify > Adjust Audio Fades > Remove Fades. Pan audio in Final Cut Pro Panning audio lets you distribute sound across the stereo or surround spectrum to create balance or a special effect. For example, you can place more sound in the right channel of a stereo clip or less sound in the center channel of a surround clip. Final Cut Pro includes a built-in surround sound decoder that lets you choose among several stereo and surround preset pan modes that you can apply to clips from the Audio inspector. Using the pan mode presets, you can dynamically re-create surround sound fields from stereo source content. Note: To display surround channels in the audio meters, make sure you set your project’s audio and rendering properties to surround before you decode stereo content to surround channels. For information about project properties, see Modify a project’s settings and Final Cut Pro project settings. For information about the audio meters, see View and change audio levels. When you change the pan mode in the Audio inspector, the setting is applied to the entire selection. To make more precise adjustments, you can add keyframes using the Audio Animation editor or the Audio inspector, and then make adjustments to them in the Audio inspector. Pan audio for stereo 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose Stereo Left/Right. 3. Move the sound left or right by doing one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. Final Cut Pro User Guide 236 Pan audio for surround sound 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose one of the following options: • Basic Surround: Positions the signal in its default channels, with a stereo signal in the right and left channels, and a mono signal in the center channel. The Pan Amount slider setting distributes portions of the signal to other channels and can be adjusted from –100 (left channels) to 100 (right channels). • Create Space: Distributes the signal across the surround spectrum, with more signal to the center and front left and right channels. This setting is useful for making a general-purpose surround mix from any stereo source. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Dialogue: Pans more signal to the center channel of the surround spectrum so that the direct sound is in the center, while ambient sound is distributed to the other channels. This setting is best used for voiceover or other dialogue clips. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (all sound to the center channel). • Music: Distributes a stereo mix signal evenly across the surround spectrum. This setting is best used for converting stereo music to a surround mix. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Ambience: Pans across the surround spectrum with more signal toward the surround channels and less signal to the front and center channels. This setting is useful for effects such as crowd noise or other outdoor environments. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Circle: Pans the sound in a circle around the surround spectrum (like a bee buzzing around the listener’s head). The Pan Amount slider adjusts the direction to the listener in degrees (–180 to 180). • Rotate: Pans around the surround spectrum as if the listener is turning in a circle. The Pan Amount slider adjusts the listener rotation in degrees (–180 to 180). • Back to Front: Pans from back to front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (back) to 100 (front). • Left Surround to Right Front: Pans from left surround to right front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (left surround) to 100 (right front). • Right Surround to Left Front: Pans from right surround to left front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (right surround) to 100 (left front). 3. If you want to adjust the pan amount, do one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. The Pan Amount settings vary according to the pan mode you choose. Final Cut Pro User Guide 237 Adjust surround sound using the Surround Panner In the Audio inspector, you can use the Surround Panner to change the surround sound field or make advanced adjustments using sliders. Using the Surround Panner, you can change the panning levels by moving a control that represents where the sound would appear to originate in an actual surround sound speaker setup. 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose a surround preset. The Surround Panner appears in the Pan section. 3. Do any of the following: • Make adjustments in the Surround Panner: Drag the control within the surround field to pan toward or away from any of the surround channels (left, center, right, left surround, or right surround) represented by the speaker icons. Click a speaker icon to turn it on or off. To move the control back to the center position, double-click it. • Make advanced adjustments: Below the Surround Panner, click Show in the Advanced section, then drag the sliders to adjust any of the following parameters: • Original/Decoded: Adjusts the balance between the original and decoded signals. The slider can be adjusted from –100 (original signal only) to 100 (decoded center and surround signals only). At 0, the signal is balanced evenly between the original and decoded signals. • Ambient/Direct: Adjusts the balance between decoded surround and center signals. The slider can be adjusted from –100 (surround signal only) to 100 (center signal only). At 0, the signal is balanced evenly between the center and surround signals. Final Cut Pro User Guide 238 • Surround Width: Specifies how much separation (in dB) is between the decoded surround signals. At 0 dB, there is complete separation between the center and surround signals, but each surround signal is mono. To increase the stereo effect in the left and right surround channels, you can increase the parameter value. This also results in some signal being diverted from the center channel to the surround channels. • LFE Balance: Adjusts the low-frequency effects (subwoofer) signal from –1 (no signal sent to the LFE channel) to 1 (all signal sent to the LFE channel). When the slider is centered at 0, the signal is distributed evenly among the five channels and the LFE channel. • Rotation: Rotates all surround signals to the left or right in a circular manner. When the slider is at the extreme left or right (–180 degrees or 180 degrees, respectively), the surround signal is rotated to the center channel and the center signal is rotated to the surround channels. At 0 degrees (the center of the slider), there is no rotation. • Stereo Spread: Adjusts the amount of stereo effect from the left and right channels to the center and surround speakers. • Attenuate/Collapse: Adjusts the way the panning effect is implemented. At 0, the source signals are attenuated (meaning that the original channel signals get louder and softer but are not actually diverted to other channels). At 100, the source signals are collapsed (meaning that the original channel signals aren’t changed in volume, but instead are moved to other channels in the panning direction). • Center Balance: Adjusts the balance between the center and surround signals. The slider can be adjusted from –100 (all center signal sent to the surround channels) to 100 (all surround signals sent to the center channel). At 0, the signal is balanced evenly between the center and surround channels. When you make adjustments to advanced parameters, the Pan Mode setting indicates that it has been edited. Reset pan adjustments In Final Cut Pro, do any of the following: • Reset an edited pan mode: Click the Pan Mode pop-up menu and choose another preset. The Pan Amount slider is not affected. • Reset adjustments to the Surround Panner only: Move the pointer to the Surround Panner section in the Audio inspector, then click the Reset button that appears on the right. • Reset all adjustments: Move the pointer to the Pan row in the Audio inspector, then click the Reset button that appears on the right. You can monitor stereo and surround sound channel levels using the audio meters. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Final Cut Pro User Guide 239 Final Cut Pro multichannel audio editing examples Below are examples of some multichannel audio editing workflows in Final Cut Pro. Example: Remove unwanted noise from an audio component Note: To skim audio for an individual audio component, make sure both clip skimming and audio skimming are turned on. See Skim media. 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Skim or play back the audio component to find the specific place where the noise occurs. 3. Drag within the component to select the range where the noise occurs. 4. Do one of the following: • Disable the portion of the component where the noise occurs: Press the V key (or press the Delete key). Disabling a selected range mutes all sound within the range. To unmute (enable) the range, press the V key (or press Command-Z). Final Cut Pro User Guide 240 Note: When you disable a range in an audio component, fade handles become available on either side of the disabled range. See Fade audio in and out. • Adjust the volume within the range: Drag the horizontal control up or down, or adjust volume from the Modify menu or the keyboard. Keyframes are automatically created along the adjustment points within the range. 5. Play back the clip to listen to your adjustments. 6. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Final Cut Pro User Guide 241 Example: Trim audio within an audio component 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Position the pointer at the edge of the audio component you want to trim. The pointer changes to the Trim tool . 3. Drag to trim that section. To undo your trim, press Command-Z. 4. Play back the clip to listen to your adjustments. 5. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Example: Trim all audio components at the same time 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). Final Cut Pro User Guide 242 2. Position the pointer at the edge of one of the expanded audio components. 3. Hold down the Shift key and drag left or right to trim the edit point for all of the audio components at once. The video portion of the clip is not affected. To undo your edit, press Command-Z. 4. Play back the clip to listen to your adjustments. 5. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Example: Enable or disable audio components in a multicam clip When you create a multicam clip that contains multiple audio components, you can use the angle viewer or the Audio inspector to add audio components from inactive angles to the active angle. This makes it easy to add audio from different source clips in your multicam clip while maintaining the active video angle. You can also disable audio components from the active angle to eliminate unwanted or unused audio. Before you start, you can make adjustments to the channel configuration of audio components in your source clips in the browser using the Audio inspector. See Configure audio channels. 1. In Final Cut Pro, drag a multicam clip from the browser to the timeline. Final Cut Pro User Guide 243 2. To open the angle viewer, do one of the following: • Choose View > Show in Viewer > Angles (or press Shift-Command-7). • Click the View pop-up menu in the top-right corner of the viewer and choose Angles from the Show section. The active angle appears highlighted in yellow. 3. To enable audio-only switching in the angle viewer, click the right switch mode button in the upper-left corner. 4. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 5. Click the Audio button at the top of the inspector. The audio corresponding to the active angle in the angle viewer appears highlighted in the Audio Configuration section of the Audio inspector. Final Cut Pro User Guide 244 6. To add audio components from inactive angles, do one of the following: • In the angle viewer: Hold down the Command and Option keys and click an inactive angle or angles. • In the Audio inspector: Select the checkbox next to each audio component you want to add. In this example, the angle whose audio you added is highlighted in green in the angle viewer, and the audio components you added are highlighted in the Audio inspector. The added audio components also appear in the multicam clip’s component arrangement in the timeline. (To show expanded audio components, choose Clip > Expand Audio Components, or press Control-Option-S.) 7. To remove an audio component from the active angle, do one of the following: • In the angle viewer: Hold down the Command and Option keys and click the angle (highlighted in green) whose audio you want to remove. • In the Audio inspector: Deselect the checkbox next to the audio component you want to remove. • In the timeline: With the clip’s audio components expanded in the timeline, select the audio component and press Delete. Final Cut Pro User Guide 245 When a component is removed, it appears dimmed in the Audio inspector and the angle is no longer highlighted in green in the angle viewer. The component also disappears from the multicam clip’s component arrangement in the timeline. Example: Perform a roll edit on adjacent audio components 1. Select adjacent clips in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 3. In the timeline, click the center of the edit point between the adjacent audio components that you want to roll, so that both sides of the edit point are selected. 4. Drag left or right to roll the edit point. The edit point is rolled to the new location. The combined duration of the two components stays the same. Note: The adjacent audio components must have sufficient media handles (additional media available beyond the edit point). If you can’t roll the edit point any farther and one side of the edit point appears red, you’ve reached the end of the media for one of the two components. Final Cut Pro User Guide 246 Add and adjust audio effects Add audio effects in Final Cut Pro In addition to enhancing audio using the built-in audio enhancement features, you can take advantage of 64-bit macOS built-in and third-party Audio Units (AU) effects for your audio processing tasks. Final Cut Pro also comes with an extensive range of custom audio effects and professional Logic Effects, which are digital signal processing (DSP) effects and processors that are used to color or tonally shape existing audio recordings and audio sources—in real time. Some of the most common processing options include noise reduction, pitch correction, EQs, dynamic processors, and reverbs. Further advanced features include delays, modulations, distortions, bass enhancement, and time-altering processors and utilities. Some custom effects included with Final Cut Pro combine multiple effects to create a particular sound environment, such as a cathedral. You can add effects to individual audio clips and components or to a compound clip. After you add an effect, you can adjust its settings using the Audio inspector. Add audio effects to a clip 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. In the Effects browser, select an audio effect. You can do any of the following to help make your selection: • Preview what an effect sounds like using the audio from the currently selected timeline clip: Move the pointer over the audio effect thumbnail. • Preview changing an effect’s primary control: Hold down the Option key while moving the pointer over the audio effect thumbnail. • Filter the list of effects that appear: Type text in the Effects browser search field. 3. Do one of the following: • Drag the effect to an audio clip (or a video clip with audio) in the timeline. • Double-click the effect icon to apply the effect to the selected clip. The effect appears in the Effects section of the Audio inspector and in the Audio Animation editor. You can now adjust the effect. Final Cut Pro User Guide 247 Change the order of effects After you apply audio effects to a clip, you can change the order in which they appear in the Audio inspector or the Audio Animation editor. 1. In the Final Cut Pro timeline, select a clip you’ve added effects to. 2. Do one of the following: • In the Effects section of the Audio inspector, drag an effect up or down. • In the Audio Animation editor, drag an effect up or down. Copy all of a clip’s effects to another clip You can copy effects and their settings from one clip to another. This can be especially useful if you’ve made adjustments to effects in a clip that you want to preserve and use with other clips. 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips you want to apply the effects to, then choose Edit > Paste Effects (or press Option-Command-V). If a clip has more than one effect applied to it, all of the effects and their settings are applied to the other clip. Copy selected clip attributes to another clip You can copy selected audio attributes, such as settings and effects, from one clip to another. For example, you can copy pan settings, or any effects you’ve added to a clip, including any keyframe adjustments. 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips you want to apply the attributes to, then choose Edit > Paste Attributes (or press Shift-Command-V). 3. In the Paste Attributes window, do any of the following: • Apply all audio attributes from the source clip: Select the Audio Attributes checkbox. • Apply individual attributes: Select the checkboxes for the attributes you want to apply. Final Cut Pro User Guide 248 • If you made any keyframe adjustments to the source clip: In the Keyframe Timing section, select either Maintain or Stretch to Fit. If you choose Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of the destination clip. 4. Click Paste. For more information about using the Logic Effects that are included with Final Cut Pro, see Final Cut Pro Logic Effects. Remove audio effects in Final Cut Pro You can remove all effects from a clip selection, or you can use the Remove Attributes command to remove selected attributes and effects. The second method provides more control over individual effects and settings and is similar to copying selected effects to a clip selection using the Paste Attributes command. If you’re not sure you want to remove an audio effect, you can turn it off but retain its settings. Remove selected attributes and effects from one or more clips 1. Select one or more clips in the Final Cut Pro timeline. Final Cut Pro User Guide 249 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window opens, with the clip’s current effects and attributes selected. 3. Deselect the checkboxes for the effects or attributes you want to retain, and select the checkboxes for the effects or attributes you want to remove. 4. Click Remove. Selected clip effects are removed from the clips entirely. Selected built-in effects (such as Volume and Pan) are reset to their default values. Note: You can also remove an individual effect from a clip in the timeline using the Audio inspector or the Audio Animation editor. Simply select the effect and press Delete. Remove all clip effects from one or more clips 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All clip effects are removed from the selected clips entirely. All built-in effects on the selected clips (such as Volume and Pan) are reset to their default values. Turn off a clip effect After you apply an audio effect to a clip, you can turn off the effect (but retain its settings) in the Audio inspector or the Audio Animation editor. 1. Select the clip with the effect in the Final Cut Pro timeline. 2. In the Audio Animation editor or the Effects section of the Audio inspector, deselect the effect’s checkbox. Final Cut Pro User Guide 250 Add the default audio effect in Final Cut Pro You can set a default audio effect and quickly add it to your project clips using the OptionCommand-E keyboard shortcut or a menu command. Final Cut Pro comes with the default audio effect set to Channel EQ, but you can change the default effect to any audio effect in the Effects browser, including custom audio effects presets. For more information about audio effects presets, see Save audio effects presets. Add the default audio effect to project clips 1. In the Final Cut Pro timeline, select one or more clips that contain audio components. 2. Choose Edit > Add [effect name] (or press Option-Command-E). Note: The name of the menu item changes depending on the current default audio effect. Set the default audio effect 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. Control-click an audio effect or an audio effects preset in the Effects browser, then choose Make Default Audio Effect. Adjust audio effects in Final Cut Pro You can adjust an effect’s parameters using controls in the Audio inspector or the effect’s window. If you’re using Audio Units effects or Logic Effects, you can show an expanded interface by opening the effect’s window. For more information about using the Logic Effects that are included with Final Cut Pro, see Final Cut Pro Logic Effects. Adjust an audio effect 1. In the Final Cut Pro timeline, select the clip with the effect you want to adjust. Final Cut Pro User Guide 251 2. Locate the effect in the Effects section of the Audio inspector. 3. To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Move the pointer over the effect in the inspector and click the Show button at the right end of the effect bar. Tip: You can adjust effects over time using keyframes in the Audio inspector or the Audio Animation editor. 4. Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the timeline. To return the effect’s values to their default settings, click the effect’s Reset button . Use Audio Units and Logic effects presets Many Audio Units and Logic effects include built-in presets that are tailored for specific settings or environments, such as reverb presets that simulate the acoustics of a small room or a large cathedral. Presets make it easy to preview and apply effects quickly. 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. Final Cut Pro User Guide 252 2. Click the Preset pop-up menu and choose a preset. You can preview your presets by using the skimmer or playing the clip in the timeline. To return the effect to its default settings, click the Preset pop-up menu and choose Default. Edit and save custom Audio Units and Logic effects presets You can edit preset parameters by adjusting the effect’s controls. If you want to keep your changes, you can save them as as a custom preset. 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. 2. Click the Preset pop-up menu and choose a preset. 3. To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Click the Parameters disclosure triangle to show controls in the Audio inspector. 4. Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the timeline. When you adjust a preset’s parameters, the Preset pop-up menu indicates that the preset has been edited. Final Cut Pro User Guide 253 5. To save an edited preset, click the Preset pop-up menu and choose Save Preset, then type a name for the new preset. Saved presets appear in the Preset pop-up menu. To return the effect to its default settings, click the Preset pop-up menu and choose Default. Delete custom presets 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. 2. Click the Preset pop-up menu and choose Reveal User Presets in Finder. 3. In the Finder window, select the preset or presets you want to delete, then drag them to the Trash. After a custom preset has been deleted, it no longer appears in the Preset pop-up menu. Final Cut Pro User Guide 254 Save audio effects presets in Final Cut Pro You can save any combination of audio effects and audio effect parameter settings as an audio effects preset, which appears in the Effects browser and functions like any other audio effect. You can create an effects preset from any combination of built-in effects and clip effects. After you create an effects preset, you can share it with friends and colleagues so that the same preset (with its specific combination of effects and parameter settings) is available in their Effects browser. Save an audio effects preset 1. Apply any combination of built-in effects and clip effects to an audio clip (or a video clip with audio) in the Final Cut Pro timeline, then make any adjustments to the effects. See Add audio effects and Adjust audio effects. 2. Select the clip in the timeline. 3. Do one of the following: • Choose File > Save Audio Effects Preset. • Open the Audio inspector and click Save Effects Preset at the bottom of the inspector. The Save Audio Effects Preset window appears, with any applied or adjusted effects selected in the Attributes list. 4. Enter a name for the new preset in the Name field. 5. Click the Category pop-up menu and choose an Effects browser category in which to store the new preset. Final Cut Pro User Guide 255 6. In the Attributes list, select the audio effects you want to include in the preset. If you made any keyframe adjustments to the source clip, select either Maintain or Stretch to Fit in the Keyframe Timing section. If you select Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of any clip to which you apply the preset. 7. Click Save. The new audio effects preset appears in the Effects browser category you chose. To apply the preset to a clip, see Add audio effects. Share an audio effects preset 1. In the Final Cut Pro Effects browser, Control-click the effects preset you want to share, then choose Reveal in Finder. 2. In the Finder, select the effects preset file and choose File > Compress. Note: Compressing the file prevents any change to the preset during transit. 3. Transfer the resulting .zip file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the .zip file to decompress it. 5. In the Finder, hold down the Option key and choose Go > Library. 6. Drag the effects preset file to the following location in the Library folder: /Users/username/Library/Application Support/ProApps/Effects Presets/ 7. If Final Cut Pro is open, quit and reopen it. The transferred audio effects preset appears in the Effects browser, in the same category as on the original Mac. Keyframe audio effects in Final Cut Pro With Final Cut Pro, you can use keyframes to create simple changes to audio over time, such as fading the volume or an effect in or out in the middle of a clip. You place keyframes at specific points in a clip to change the parameter value of an audio enhancement or effect at those points. For example, you can keyframe specific points for volume or for an effect such as reverb or distortion. You can set keyframes to adjust a clip’s volume directly in the timeline or the Audio inspector. To see keyframes in the timeline for all other effects, you need to display the Audio Animation editor. For information about using keyframes with video clips, see Add video effect keyframes. Add keyframes to a clip 1. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the timeline and choose Show Audio Animation. If you’re adding keyframes for volume adjustment only, go to step 4. Final Cut Pro User Guide 256 Each effect in the Audio Animation editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Audio Animation editor with a triangle next to the effect’s name or in the Audio inspector as additional parameter controls. 2. In either the Audio Animation editor or the Effects section of the Audio inspector, select the effect for which you want to add keyframes. 3. Do one of the following: • See expanded parameters in the Audio Animation editor: Click the triangle to choose an individual parameter from the pop-up menu, or choose All to see all keyframes. • See expanded parameters in the Audio inspector: Click the Parameters disclosure triangle for the effect. 4. For each parameter, do one of the following: • In the Audio Animation editor (or the audio clip for volume only): Option-click (or press Option-K) at a point on the horizontal effect control where you want to add a keyframe. Keyframes for volume adjustment appear as white diamonds. For effects with more than one parameter, keyframes for the selected parameter appear as white diamonds, and keyframes for other parameters appear gray. Final Cut Pro User Guide 257 Keyframes appear as white diamonds for all parameters when you choose All from the effect pop-up menu. Double diamonds indicate that you added a keyframe for more than one parameter at that point. • In the Audio inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button (or press Option-K). After you add a keyframe, the Keyframe button changes to solid white, indicating that the playhead is currently on this keyframe. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Audio inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (’). 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the effect parameter (or the Volume slider when keyframing volume) in the Audio inspector. Add keyframes automatically across a selected area When making volume adjustments to a clip in the timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. If an effect appears in the Audio Animation editor with a disclosure button, you can use either the Select tool or the Range Selection tool to add keyframes across a selected area. 1. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the timeline and choose Show Audio Animation. If you’re adding keyframes for volume adjustment only, go to step 3. Final Cut Pro User Guide 258 2. Select an effect, then click the disclosure button to expand it in the Audio Animation editor. 3. In the timeline, do one of the following: • If you’re adjusting volume only: Click the Tools pop-up menu above the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . • If you’re adjusting an effect in the Audio Animation editor: Click the Tools pop-up menu above the timeline and choose either Select or Range Selection (or press A for Select, or R for Range Selection). 4. Drag across the area where you want to adjust the volume or effect. 5. Adjust the volume or effect within the range by dragging the effect’s horizontal control up or down. Final Cut Pro User Guide 259 Keyframes are automatically created along the adjustment points within the range. Adjust keyframes in the Audio Animation editor You can move keyframes left or right in the Audio Animation editor. If an effect appears with a disclosure button, you can expand the effect view and move keyframes up or down to change the parameter value. 1. In Final Cut Pro, select a keyframe. 2. Do one of the following: • To change the keyframe’s position in time, drag it left or right. As you drag, the timecode value appears. • If an effect appears with a disclosure button, click the button (or double-click the effect) to expand the effect view. With the effect view expanded, you can drag the keyframe up or down to change the effect’s parameter value. To add another keyframe, Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. Final Cut Pro User Guide 260 Adjust keyframes in the Audio inspector For many effects, you adjust the parameter value of individual keyframes using the Audio inspector. 1. In Final Cut Pro, select a keyframe or position the playhead on a keyframe, then adjust the parameter value in the Audio inspector. 2. To change the value at the next keyframe, go to the next keyframe and adjust the value again. Adjust all keyframes at once in the Audio Animation editor • In Final Cut Pro, hold down the Command and Option keys, then drag either a keyframe or the effect control up or down. All keyframes are adjusted by the same amount, preserving the original shape created by any keyframe adjustments. However, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. View one effect at a time in the Audio Animation editor You can collapse the Audio Animation editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1. In Final Cut Pro, choose Clip > Solo Animation (or press Control-Shift-V). 2. In the Audio Animation editor, click the triangle next to the displayed effect’s name, then choose an effect from the pop-up menu. Note: When Solo Animation is turned on, you can’t delete effects from the Audio Animation editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Control-Shift-V). Final Cut Pro User Guide 261 Delete keyframes In Final Cut Pro, do one of the following: • Select a keyframe in the Audio Animation editor, then press Option-Shift-Delete. • Navigate to a keyframe in the Audio inspector, then click the Keyframe button. Hide audio animation In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Hide Audio Animation (or press Control-A). • Click the close button in the upper-left corner of the Audio Animation editor. • Control-click the clip in the timeline and choose Hide Audio Animation. You can also manipulate multiple keyframes simultaneously. This works the same way for audio keyframes as it does for video keyframes. See Modify groups of keyframes. To copy specific keyframes between different attributes or between different clips, see Copy and paste keyframes. Tip: If you applied a reverb effect to a clip and you want the reverb to extend beyond the end of the clip, add a hold segment to the last frame. The hold segment duration is fully adjustable, and you can extend the reverb keyframing into the hold segment. Audio tools and techniques Enhance audio in Final Cut Pro Final Cut Pro includes several powerful tools for automatically analyzing and enhancing the audio in your projects, including: • Loudness: Improves the main audio signal and makes it more uniform. • Background Noise Removal: Reduces background noise. • Hum Removal: Reduces common electrical hum noise at either 50 or 60 Hz. All enhancements are designed to correct most common audio problems automatically or with minor adjustments. You can let Final Cut Pro analyze audio and adjust these problems in your audio clips automatically, or you can make manual adjustments in the Audio Enhancements section of the Audio inspector. You can also analyze and fix audio problems when you import a clip. (See Audio analysis options.) Final Cut Pro User Guide 262 Note: When you import a clip with the “Analyze and fix audio problems” import option selected, only severe audio problems are corrected. If the clip contains moderate problems, these appear in yellow next to Audio Analysis in the Audio Enhancements section of the Audio inspector after the clip is imported. To correct these problems, you need to automatically enhance audio in the Audio inspector. 1. In Final Cut Pro, select an audio clip or a video clip with audio in the timeline. Important: Audio enhancement works on the component level, not the clip level. If your audio clip has more than one audio component (for example, a dual mono clip), select an individual component, then proceed with the enhancements. 2. Do one of the following: • Choose Modify > Auto Enhance Audio (or press Option-Command-A). • Click the Enhancements pop-up menu below the viewer and choose Auto Enhance Audio. • In the Audio inspector, click the Auto Enhance Audio button next to Audio Analysis in the Audio Enhancements section. 3. If it isn’t already open, open the inspector, then click the Audio button at the top. In the Audio Enhancements section of the inspector, a green checkmark next to an enhancement indicates that the clip was analyzed and, if necessary, adjusted for that enhancement. A blue checkbox appears next to each enhancement that was turned on to apply a correction. You can turn on additional enhancements by selecting their checkboxes (when an enhancement is turned on, its checkbox is blue). 4. In the Audio inspector, do any of the following: • Adjust equalization: In the Equalization section, click the Equalization pop-up menu and choose an equalization preset, or click the Controls button to make manual adjustments. • Change loudness settings: Drag the Amount and Uniformity percentage sliders in the Loudness section. The Amount slider increases or decreases the overall loudness (compression) of the clip, and the Uniformity slider increases or decreases the dynamic range affected. • Change the percentage of background noise removal: Drag the Amount slider in the Noise Removal section. Final Cut Pro User Guide 263 • Remove hum: Select either 50 Hz or 60 Hz in the Hum Removal section. To turn off an enhancement, deselect its checkbox. You may see either of the following indicators: • A yellow warning triangle indicates potential problems. • A red sign indicates severe problems. If you want a clip to sound like another clip, you can match the audio. Sync audio and video in Final Cut Pro Final Cut Pro can automatically analyze and sync the audio and video clips in your project. For example, if you select two video clips and three audio clips from different sources that were all recorded during the same take, Final Cut Pro automatically analyzes the clips and syncs them together into a new clip in the browser. The original clips are not affected. Final Cut Pro analyzes the clips for sync points such as markers you’ve added, timecode, file creation date, and audio content. If no sync points can be found, the clips are synced at their respective starting points. Final Cut Pro User Guide 264 For finer control of the syncing process, you can use custom settings to adjust several different parameters. Sync clips automatically 1. In the Final Cut Pro browser, select the audio or video clips you want to sync. 2. Do one of the following: • Choose Clip > Synchronize Clips (or press Option-Command-G). • Control-click the selection and choose Synchronize Clips. 3. In the window that appears, type a name for the synced clip in the Synchronized Clip Name field. Final Cut Pro User Guide 265 4. Click the In Event pop-up menu and choose the event in which you want to create the new synced clip. 5. If you want the synced clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync clips using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 7. If you want Final Cut Pro to disable the audio in clips containing both video and audio, select “Disable audio components on AV clips.” For example, if you record dual-system sound (with a reference audio track on the video camera and a high-quality audio-only recording on a separate sound recorder), you can disable the reference track that was recorded on the camera after you finish syncing the video to the high-quality audio. 8. If the automatic settings aren’t shown, click Use Automatic Settings. The automatic settings appear. Note: The automatic settings are shown by default, but if the last synced clip you created used custom settings, those settings are shown. 9. Click OK. Final Cut Pro creates a new synced clip in the event you specified. Sync clips using custom settings 1. In the Final Cut Pro browser, select the audio or video clips you want to sync. 2. Do one of the following: • Choose Clip > Synchronize Clips (or press Option-Command-G). • Control-click the selection and choose Synchronize Clips. Final Cut Pro User Guide 266 3. In the window that appears, type a name for the synced clip in the Synchronized Clip Name field. 4. Click the In Event pop-up menu and choose the event in which you want to create the new synced clip. 5. If you want the synced clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync clips using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 7. If you want Final Cut Pro to disable the audio in clips containing both video and audio, select “Disable audio components on AV clips.” For example, if you record dual-system sound (with a reference audio track on the video camera and a high-quality audio-only recording on a separate sound recorder), you can disable the reference track that was recorded on the camera after you finish syncing the video to the high-quality audio. 8. To show the custom settings, click Use Custom Settings. The custom settings appear. Note: The automatic settings are shown by default, but if the last synced clip you created used custom settings, those settings are shown. Final Cut Pro User Guide 267 9. Click the Synchronization pop-up menu and choose how the clips are synced: • Automatic: Final Cut Pro syncs the clips automatically. • Timecode: Final Cut Pro syncs the clips using timecode recorded in the clips. If you recorded timecode in your clips, choose this option. It’s the fastest and most frameaccurate method of syncing clips. Note: The Timecode option is not available when the drop frame patterns in the selected clips don’t match. • Content Created: Final Cut Pro syncs the clips using the date and time information recorded by your camcorder or video recording device. The Content Created method can sync clips within 1-second accuracy (because in most camcorders the smallest unit in date and time information is 1 second). If you choose this syncing method, consider doing any of the following to make the sync frame-accurate: • Select “Use audio for synchronization.” (See step 7.) Final Cut Pro uses the Content Created data as a starting point and then further refines the sync. • Manually adjust the sync. (See Manually adjust or slip a synced clip, below.) Note: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. Final Cut Pro User Guide 268 • Start of First Clip: Final Cut Pro uses the first frame in each clip as the sync point. Tip: The Start of First Clip method is useful if you want to use specific range selections of your source clips only. In the browser, add keywords to the ranges you want to use, or rate them as favorites, and then filter or search for the clips. When you create your synced clip, Final Cut Pro uses only the media showing in the filtered view. • First Marker on the Clip: Final Cut Pro uses the first marker in each clip as the sync point. Tip: With this method, you can use the first marker to define a region that can be fine-tuned with the “Use audio for synchronization” option (described in step 6). In other words, you don’t need to place the marker exactly—just close enough so that the automatic audio sync feature can sync the clips the rest of the way. 10. If you want to change the video properties for the synced clip, click the Video pop-up menu and choose Custom, then change the settings as appropriate. Note: By default, Final Cut Pro analyzes the selected clips and configures these settings according to the most common clip properties among the clips. 11. If you want to change the rendering or audio settings for the synced clip, change the settings as appropriate in the Rendering and Audio sections. 12. Click OK. Final Cut Pro creates a new synced clip in the event you specified. Manually adjust or slip a synced clip You may need to adjust a synced clip (by slipping the sync, for example). You can do this by opening the contents of the synced clip in the timeline. 1. In Final Cut Pro, select the clip in the browser or the timeline. 2. Choose Clip > Open Clip. The timeline displays the contents of the clip. Final Cut Pro User Guide 269 3. Make adjustments to the contents of the synced clip. The contents of a synced clip include a clip in the primary storyline and one or more connected clips. You can adjust or slip the sync by dragging the connected clips left or right to change the points at which they connect to the clip in the primary storyline. See Connect clips. 4. When you’re done, click the left arrow in the upper-left corner of the timeline to save your changes and close the contents of the synced clip. Tip: To easily view all synced clips, you can create a Smart Collection that uses the Type search category set to Synchronized as one of the search criteria. See Create Smart Collections. If your synced clip contains audio channels that aren’t being used, you can turn them off. See Configure audio channels. Match audio in Final Cut Pro The Match Audio function uses equalization (EQ) to let you match a selected clip’s sound to that of another clip. This is particularly useful when you have multiple audio clips recorded in different environments but want the clips to sound similar. Match audio 1. In the Final Cut Pro timeline, select the clip or clips whose audio you want to match to that of another clip. Note: For clips with multiple components (such as dual mono clips, compound clips, multicam clips, and synced clips), make this selection at the component level. See Show expanded audio components. 2. Do one of the following: • Choose Modify > Match Audio (or press Shift-Command-M). • Click the Equalization pop-up menu in the Audio Enhancements section of the Audio inspector and choose Match. • Click the Enhancements pop-up menu below the viewer and choose Match Audio. 3. Click to select the clip whose sound you want to match. 4. Click Apply Match. After you match a clip, you can adjust settings in the Audio Enhancements section of the Audio inspector. Final Cut Pro User Guide 270 Remove audio matching 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Enhancements section of the Audio inspector, click the Equalization pop-up menu and choose a different equalization setting. To remove all equalization, choose the Flat setting. Preserve pitch in retimed clips in Final Cut Pro By default, Final Cut Pro preserves pitch when retiming clips so that the pitch doesn’t sound higher when the clip is faster or lower when the clip is slower. You can turn this feature on or off before or after a clip has been retimed. 1. In the Final Cut Pro timeline, select an entire clip, or a range within a clip, whose speed has been changed. 2. Click the Retime pop-up menu below the viewer and choose Preserve Pitch. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. To turn it off, choose Preserve Pitch again. Monitor mono or dual mono audio in Final Cut Pro You can monitor audio from Final Cut Pro using a third-party audio interface. Some audio interfaces may require additional configuration using Audio MIDI Setup to properly monitor mono or dual mono audio from Final Cut Pro. See the Audio MIDI Setup User Guide. 1. Connect the audio output device to your Mac, and make sure it’s connected to power and turned on. 2. In the Finder, choose Go > Utilities (or press Shift-Command-U), then open Audio MIDI Setup. 3. In the Audio Devices window, select your audio output device in the list on the left. See Set up audio devices in Audio MIDI Setup on Mac. 4. Click Configure Speakers in the lower right. 5. Click Multichannel. 6. Click the Configuration pop-up menu and choose Stereo, then click Done. For more information about third-party devices and software, contact the device manufacturer. Final Cut Pro User Guide 271 Add titles Add and adjust titles Intro to titles in Final Cut Pro Titles play a critical role in movies, providing important bookends (such as opening titles and closing credits) and conveying time and dates within the movie. Titles, especially in the lower third of the screen, are also used in documentaries and informational videos to convey details about subjects or products onscreen. You can also add notes and placeholders within your project while you edit. You can create titles and credits within Final Cut Pro with title effects. Titles are synthesized clips (similar to generators) created by Final Cut Pro. Title clips don’t refer to any media on your Mac or storage device. When you add a title as a connected clip directly above another clip, the underlying clip appears as the title’s background, sparing you the need to perform any further compositing to create that effect. For information about 3D titles, see Intro to 3D titles. For information about creating subtitles and closed captions, see Intro to captions. Final Cut Pro User Guide 272 Add titles in Final Cut Pro You add titles to clips in your project using the Titles and Generators sidebar. After you’ve added text, you can modify the title’s text style. Add a title to a project clip 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the title. 2. If the Titles and Generators sidebar isn’t already shown, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 3. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 4. Do any of the following: • Add a title from the browser: Double-click the title. A title clip is added at the playhead location. • Add a basic title: Choose Edit > Connect Title > Basic Title (or press Control-T). A title clip named Basic Title (with no effects or animations) is added at the playhead location. • Add a lower-third title: Choose Edit > Connect Title > Basic Lower Third (or press Control-Shift-T). A lower-third title clip named Basic Lower Third (with no effects or animations) is added at the playhead location. Note: If you don’t see the title you’re looking for, you can use the Filter pop-up menu at the top of the browser to check for it in other locations. See Filter Motion content stored in a library. The title clip is connected to the clip in the primary storyline at the position of the playhead. Visually, the title is superimposed over the clip in the primary storyline at the playhead position. If the playhead is not over a clip, the title is superimposed over the default background. Add a title as a clip in the primary storyline There are two ways to add a title as a clip in the primary storyline. You can either insert a title clip at the edit point between two clips or replace an existing clip in the primary storyline with a title clip. Final Cut Pro User Guide 273 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 3. Do one of the following: • Add a title between clips in the timeline: Drag the title from the browser to the edit point between the clips where you want the title clip to appear. • Replace an existing timeline clip with a title clip: Drag the title from the browser to the clip in the timeline that you want to replace, then choose Replace. Enter text for your title After you add a title clip to your project in the timeline, you can type text for your title in the viewer. 1. Select a title clip in the Final Cut Pro timeline. 2. Move the playhead over the selected title clip. 3. In the viewer, double-click the title text, then type text for your title. Final Cut Pro User Guide 274 4. To select a different text object, do one of the following: • Click the Previous Text Layer or Next Text Layer button. • Double-click a different text object. 5. Type new text as necessary. 6. To exit text editing, press Command-Return. The Previous Text Layer and Next Text Layer buttons also support Motion text edit markers. See the Motion User Guide. Note: If you have created or customized any titles in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Add the default title in Final Cut Pro You can set a default title or a default lower third and then quickly add it to your project using a keyboard shortcut or a menu command. Final Cut Pro comes with the default title set to Basic Title and the default lower third set to Basic Lower Third, but you can change the defaults to any title. Add the default title or lower third 1. In the Final Cut Pro timeline, move the skimmer or the playhead to the frame where you want to add the default title or lower third. 2. Do one of the following: • Add the default title: Choose Edit > Connect Title > [title name] (or press Control-T). • Add the default lower third: Choose Edit > Connect Title > [lower third name] (or press Control-Shift-T). Note: The name of the menu item changes depending on the current default title or default lower third setting. The title or lower third is connected to the primary storyline at the skimmer or playhead position. Set the default title or lower third 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. In the sidebar, select a titles category so that the appropriate titles appear in the browser. Final Cut Pro User Guide 275 3. Do one of the following: • Set the default title: Control-click a title in the browser and choose Make Default Title. • Set the default lower third: Control-click a title in the browser and choose Make Default Lower Third. Adjust titles in Final Cut Pro You can edit title text and change a title’s style, color, and opacity. You can edit text in the viewer or in the Text inspector, and you can adjust a title’s appearance using the Title and Video inspectors. Edit title text 1. In Final Cut Pro, do one of the following: • Select a title clip in the timeline, then move the playhead over the selected title clip. • Double-click a title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. The playhead moves to the point in the timeline where the first text object is fully visible in the viewer. (For example, to make the animated text you’re editing visible in the viewer, you may need to move the playhead to a different point in the animation.) 2. Do one of the following: • Double-click a text object in the viewer. • Select the text in the Text inspector. 3. Edit the text. 4. To exit text editing, press Command-Return. Change a title’s color 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. Note: To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 276 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Click the color well in the Face section of the inspector and choose a color. Note: To add a background color to your title, see Add backgrounds. Change a title’s text style You can change a title’s text style—for example, the text’s font, color, size, and alignment. 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. Note: To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 277 4. Adjust the available settings as needed. Note: To reveal the controls in each of the sections, you may need to scroll down in the Text inspector and double-click each section name. For a complete list of available controls, see Text inspector controls. • Basic: Sets the basic text settings such as font, size, alignment, tracking, and line spacing. • 3D Text: Sets the depth, depth direction, weight, front edge type, front edge size, back edge type, and inside corner type for 3D text objects. See Intro to 3D titles. • Face: Sets the type of color fill, the fill color, opacity, and blur. • Outline: Sets the type of color fill, the fill color, opacity, blur, and width. • Glow: Sets the type of color fill, the fill color, opacity, blur, and radius. • Drop Shadow: Sets the type of color fill, the fill color, opacity, distance, and angle. 5. To exit text editing, press Command-Return. Tip: You can quickly add preset text styles to titles and save text appearance settings for future use. See Apply preset text styles in Final Cut Pro. Change the custom title settings You can modify the title controls and parameters that are unique to a specific title. Depending on the title, you may be able customize certain features or parameters such as the title’s scale, position, color, or animation timing. 1. Select a title clip in the Final Cut Pro timeline. Final Cut Pro User Guide 278 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Title button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Adjust the available settings as needed. You can design, build, and modify titles in Motion for use in Final Cut Pro. When you save a title template in Motion, you can choose which parameters to publish in the Title inspector in Final Cut Pro. See more information about Final Cut Pro templates in the Motion User Guide. Note: You can also animate some titles by keyframing settings in the Title inspector. For more information about animating effects using keyframes, see Add video effect keyframes. Change multiple text objects in a title at once You can adjust the settings (such as the color, font, or size) of more than one text object at once. 1. Select a title clip in the Final Cut Protimeline. 2. Move the playhead over the selected title clip. Final Cut Pro User Guide 279 3. In the viewer, do one of the following: • Holding down the Command key, select the text objects you want to modify. • Drag to select the text objects you want to modify. 4. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. In the Text inspector, adjust the available settings as needed. Change a title’s opacity You can adjust a title clip’s opacity to make the title more transparent. 1. Double-click a title clip in the Final Cut Protimeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 280 4. In the Compositing section, adjust the opacity settings. Note: Some titles allow you to adjust the text opacity separately from the opacity of the rest of the title graphics. See Change a title’s text style. 5. To exit text editing, press Command-Return. Note: You can also keyframe a title’s opacity setting. Position and animate titles in Final Cut Pro You can easily change the position and animation of titles. Adjust a title’s position onscreen 1. Select a title clip in the Final Cut Pro timeline. 2. Move the playhead over the selected title clip. 3. Drag the text object to the new position. Final Cut Pro User Guide 281 Use the ruler to align paragraph text objects Text created in Motion and some titles included with Final Cut Pro contain paragraph text. You can use a ruler and tabs to control the layout of paragraph text. See the Motion User Guide. 1. In Final Cut Pro, double-click a paragraph text object in the viewer. 2. In the viewer, click the Show Ruler button. Note: The Show Ruler button appears only when you edit a paragraph text object. A ruler appears above the paragraph text object in the viewer. Tabs in the ruler show how tabbed text will be aligned in the selected text. 3. Do any of the following: • Add a tab: Click in the ruler. • Add a specific tab type when you click in the ruler: Control-click in the ruler and choose a tab type. This also changes the type of tab added to the ruler when you click in it. • Move a tab: Drag it to another position on the ruler. • Delete a tab: Drag it out of the ruler. • Change a tab to another tab type: Control-click the tab and choose a tab type. Change the timing of an animated title Many of the titles that come with Final Cut Pro include animations. Depending on the specific title, there are two main ways to adjust the speed of the animation. In Final Cut Pro, do any of the following: • Change the duration of the clip: The animation timing in some titles depends on the duration of the clip. For example, to slow down the Scrolling title, extend the duration of the title clip in the timeline. Final Cut Pro User Guide 282 • Adjust the timing in Motion: Open the Titles and Generators sidebar, select Titles in the sidebar, then Control-click a title in the browser and choose “Open a copy in Motion.” The title opens in Motion as a Motion project. For information about adjusting titles in Motion, see the Motion User Guide. Text inspector controls in Final Cut Pro You can make common text adjustments using controls in the Text inspector. To access these controls, select a title clip in the Final Cut Pro timeline, then open the Text inspector. Preset pop-up menu • Preset: An unlabeled pop-up menu at the top of the Text inspector, used to apply preset text styles to titles in the timeline. You can also use this pop-up menu to save text appearance and format settings. See Apply preset text styles. Text editor • Text: Many titles include a text field (the darker shaded area) to add and edit text in your title from the inspector. Basic controls • Font: A pop-up menu to choose a font for selected text. • Font Style: An unlabeled pop-up menu (to the right of the Font pop-up menu) to choose a type style, such as Regular, Bold, Condensed, and so on. The available styles are specific to the font family selected in the Font pop-up menu. • Size: A slider to set the point size of the text. The slider is constrained to a maximum of 288 points. To create larger text, drag to the right over the numeric value slider, or click the value, type a new number, and press Return. • Alignment: Buttons to set the alignment and justification of text. Final Cut Pro User Guide 283 • Vertical Alignment: Buttons to set the vertical alignment of text. • Line Spacing: A slider to set the distance between each line of text (leading) in pointsize increments. Tip: To modify the spacing for individual lines of text when hard returns are present, select text, then adjust the Line Spacing slider. Spacing is modified on the line that includes the selected text. • Tracking: A slider to set the spacing between text characters; applies a uniform value between each character. • Kerning: A slider to adjust spacing between text characters. • Baseline: A slider to adjust the baseline of text characters: an invisible horizontal line defining the bottom alignment of characters. • All Caps: A checkbox to make text characters uppercase. • All Caps Size: A slider (available when the All Caps checkbox is selected) to set the size of uppercase characters based on a percentage of the font point size. Apply preset text styles in Final Cut Pro Final Cut Pro comes with preset text styles (in 2D and 3D) that you can apply to text. A text style is a group of style settings. You can also create your own custom text styles and save them as presets. You apply preset text styles using the pop-up menu at the top of the Text inspector. Apply preset text styles to titles 1. In Final Cut Pro, do one of the following: • Double-click a title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. • Select multiple title clips in the timeline. Tip: Use the timeline index to easily select multiple titles in your timeline. Click the Clips button at the top of the of the timeline index, then click the Titles button at the bottom. See Show a list-based view of your project. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 284 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Click the pop-up menu at the top of the Text inspector and choose 2D Styles or 3D Styles. 5. Choose a text style from the submenu that appears. The text style is applied to the selected title clips. Save and apply custom text styles 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 285 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Make any custom changes to the font or style in the Text inspector. See Change a title’s text style. 5. Click the pop-up menu at the top of the Text inspector and choose one of the following: • Save Format Attributes: Saves basic text attributes, including font, size, alignment, tracking, and line spacing. • Save Appearance Attributes: Saves effects such as text color, outline color, glow, drop shadow, and so on. • Save All Format and Appearance Attributes: Saves both format attributes and style attributes. 6. In the Save Preset to Library window, type a name for your new custom preset. The custom text style is saved and appears in alphabetical order in the pop-up menu at the top of the Text inspector. 7. To apply the new preset to another title, select the title in the timeline, then click the pop-up menu at the top of the Text inspector and choose the preset. Organize your saved custom text styles 1. Quit Final Cut Pro. 2. In the Finder, hold down the Option key and choose Go > Library. 3. Navigate to /Users/username/Library/Application Support/Motion/Library/Text Styles/. The Text Styles folder contains the custom text styles you’ve created. Each text style has three files: a file with the extension .molo, a file with the extension .png that is the preview of the text style, and a file with “_menu” appended to the end of the style’s name (also with a .png extension). The name of the text style appears in the preset menu with the style’s attributes applied to the name. 4. Create one or more folders and drag the corresponding .molo files and .png files to those folders. Final Cut Pro User Guide 286 The next time you open Final Cut Pro, the folders appear as categories in the pop-up menu at the top of the Text inspector. Remove custom text styles 1. Quit Final Cut Pro. 2. In the Finder, hold down the Option key and choose Go > Library. 3. Navigate to /Users/username/Library/Application Support/Motion/Library/Text Styles/. The Text Styles folder contains the custom text styles you’ve created. Each text style has three files: a file with the extension .molo, a file with the extension .png that is the preview of the text style, and a file with “_menu” appended to the end of the style’s name (also with a .png extension). The name of the text style appears in the preset menu with the style’s attributes applied to the name. 4. For each custom text style you want to remove, move the .molo file and the .png files to the Trash. 5. To reset Final Cut Pro preferences, press Option-Command while opening Final Cut Pro. When Final Cut Pro opens, the custom text styles no longer appear in the pop-up menu at the top of the Text inspector. Modify Final Cut Pro titles in Motion Many of the titles included with Final Cut Pro were created using Motion, an Apple app designed to work with Final Cut Pro. You can open any of these titles in Motion, make modifications, and save the changes as a new title that you can access from the Titles and Generators sidebar. Important: To modify a title in Motion, you must have Motion 5 installed on your computer. 1. To open the Titles and Generators sidebar, click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 3. In the browser, Control-click the title you want to modify and choose “Open a copy in Motion.” Motion opens, and the title’s project appears. 4. Modify the title’s project. See the Motion User Guide. Final Cut Pro User Guide 287 5. Choose File > Save As (or press Shift-Command-S), enter a name for the new title (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the effect is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Find and replace text in Final Cut Pro If your project contains multiple instances of a particular word or phrase displayed in multiple title clips, such as names, company names, or job titles, you can find the specific word or phrase and quickly change each instance of it. 1. If you want to find and replace text in a selection, select a title clip in the Final Cut Pro timeline. 2. Choose Edit > Find and Replace Title Text. 3. In the window that appears, type the text you want to search for in the Find field. 4. In the Replace field, type the text you want to replace the text you’re looking for. 5. To choose where to search, do one of the following: • Search for text in the selected title clip: Click the “Search in” pop-up menu and choose Selected Title. This option is useful for searching in title clips that have a lot of text, such as credits. Note: If more than one title clip is selected, only the clip closest to the beginning of the timeline is searched. If selected clips are stacked vertically, the clip closest to the primary storyline is searched. • Search for text across all the title clips in your project: Click the “Search in” pop-up menu and choose All Titles In Project. Final Cut Pro User Guide 288 6. Do any of the following: • Match how letters are capitalized in your search text: Select the “Match case” checkbox. • Locate whole words rather than a group of letters within words: Select the “Whole words” checkbox. • Have the search start over from the beginning of the searched item after reaching the end: Select the “Loop search” checkbox. 7. Do one of the following: • Replace all instances of the text at once: Click the Replace All button. • Replace this single instance of the text only: Click the Replace button. • Replace this instance of the text and locate the next place the text appears: Click the Replace & Find button. • Cycle forward and backward through each instance of the text you’re looking for: Click the Previous and Next buttons. To undo an operation performed in the Find and Replace window, click in the viewer to make it active, then choose Edit > Undo Text Replace (or press Command-Z). Add and adjust 3D titles Intro to 3D titles in Final Cut Pro In addition to creating basic two-dimensional text, you can create text that appears to have depth—complete with sides, edges, and backs. 3D text in Final Cut Pro exhibits the same characteristics as real three-dimensional objects, simulating natural lighting, shading, and textures. You can easily convert back and forth between 2D text and 3D text. When you reenable 3D text after switching to 2D text, the previous 3D settings are restored. See Convert text to 3D text. For information about creating basic 2D text, see Add titles. As you can with 2D text, you can animate your 3D titles in Final Cut Pro. See Intro to video keyframing. Final Cut Pro User Guide 289 Final Cut Pro 3D titles workflow Although 3D titles can be customized in unlimited ways, you can create impressive-looking 3D text in just a few steps with Final Cut Pro. Step 1: Create a 3D title In Final Cut Pro, you can either add a 3D title from the Titles and Generators sidebar or convert an existing 2D title to 3D. Either way, you’ll wind up with a 3D title that has basic settings. Step 2: Apply a preset style If you want to take advantage of the ready-made 3D text styles that come with Final Cut Pro, you can select the title and choose a preset 3D style in the Text inspector. This applies a combination of settings, including the font, weight, depth, and appearance. Each of these attributes can be further customized, but the preset styles are a great way to get started. Final Cut Pro User Guide 290 Step 3: Adjust 3D text settings You can customize your 3D title by adjusting basic text settings (including font, size, tracking, line spacing, and capitalization). You can also modify 3D-specific text attributes such as depth, text weight, edge style, and corner style. All of these attributes can be modified in the Text inspector. To get a good look at all sides of your title, you can use onscreen controls to rotate the title or move it in 3D space. Final Cut Pro User Guide 291 Step 4: Modify the materials You can define the surface appearance of the 3D title by applying preset materials or by creating custom materials. Materials include substances (such as metal or plastic), paint layers, distress layers, and more. Each layer has many attributes, allowing you to create limitless variations in appearance. You can also apply different materials to different facets of 3D titles (front, back, side, and edges). To learn more about materials, see Intro to materials. Step 5: Add a lighting style Another way to customize the appearance of your 3D title is to add a lighting style. You can choose from preset lighting styles in the Lighting section of the Text inspector. You can customize the lighting in a variety of ways, but presets are a great way to quickly create a unique and realistic look. Final Cut Pro User Guide 292 Step 6: Integrate the text with your composition Finally, you can combine your 3D title with backgrounds or other elements to create an organic, integrated scene. You can also apply glow or drop shadow effects in this final step. Add 3D titles to a project Add 3D titles in Final Cut Pro Add a 3D title the same way you would add a 2D text title. For details (including alternative ways to add titles), see Add titles. 1. In the Final Cut Pro timeline, position the playhead where you want to add the title. 2. Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 3. Select a 3D titles category in the Titles and Generators sidebar. The titles in that category appear in the browser. 4. Do any of the following: • Add a 3D title to a project clip: Double-click the title in the browser. The title clip is connected to the clip in the primary storyline at the position of the playhead and appears superimposed over that clip. If the playhead isn’t over a clip, the title is superimposed over the default background. • Add a title between clips in the timeline: Drag the title from the browser to the edit point between the clips where you want the title clip to appear. • Replace an existing timeline clip with a 3D title: Drag a title from the browser to the clip in the timeline that you want to replace, then choose Replace. Final Cut Pro User Guide 293 The title appears in your project, showing the front of the text. For information on how to manipulate and examine all facets of your 3D titles, see Rotate titles in 3D space and Move titles in 3D space. Note: Some 3D titles come with their own built-in backgrounds. You can disable (or enable) the built-in background in the Title inspector. Convert text to 3D text in Final Cut Pro Any title can be converted back and forth between 2D and 3D. Converting a 2D text title to 3D (a process called extruding) replaces the Face and Outline settings with settings and parameters designed to simulate realistic three-dimensional objects. Converting a 3D title to 2D text disables those settings and instead enables the Face and Outline settings. Convert 2D text to 3D 1. Double-click a 2D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Text inspector, click the 3D Text checkbox so that it turns blue. The Face and Outline sections of the inspector are replaced by the Lighting and Material sections. Final Cut Pro User Guide 294 Convert 3D text to 2D 1. Double-click a 3D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Text inspector, click the blue 3D Text checkbox to deselect it. The Lighting and Material sections of the inspector are replaced by the Face and Outline sections. Rotate and move 3D titles Rotate titles in 3D space in Final Cut Pro When you add a 3D title to a project, you see a bit of the extruded sides in addition to the front of the text. Final Cut Pro User Guide 295 But 3D text actually has multiple facets (the front, sides, edges, and back), even though you can’t see them by default. You can view these other facets by rotating the text object using the onscreen controls. 1. In Final Cut Pro, add a 3D title to your project and select it in the timeline. 2. Position the playhead in the timeline so that your 3D title appears in the viewer. 3. In the viewer, click the 3D title once. The onscreen controls for the 3D title appear in the viewer, with X, Y, and Z rotation handles. Note: Make sure to click the 3D title in the viewer only once. If you double-click the 3D title, the 3D onscreen controls do not appear. (Double-clicking selects the text for editing and formatting.) 4. Move the pointer over one of the rotation handles until a rotation ring appears, then drag the ring. • The red ring rotates the object around its X axis. • The green ring rotates the object around its Y axis. • The blue ring rotates the object around its Z axis. Final Cut Pro User Guide 296 As you drag, the active ring is highlighted, and the status bar above the viewer displays the absolute rotation values as well as the amount of rotation change (delta). For more information about the three axes of the 3D coordinate system in Final Cut Pro, see Move titles in 3D space. Note: You can modify the appearance of each facet individually, and control the bevel and style of the edges between facets. See Intro to materials and Modify depth and edges. Move titles in 3D space in Final Cut Pro Final Cut Pro uses a 3D coordinate system to precisely control the look of your 3D titles. This system specifies the center of the viewer as 0, 0, 0. Moving a text object to the left subtracts from the X value, moving to the right adds to the X value, and so on. One of the main differences between 2D text and 3D text is that with 3D text you can change your point of view, so that moving an object up doesn’t always mean increasing its Y position value. 1. In Final Cut Pro, add a 3D title to your project and select it in the timeline. 2. Position the playhead in the timeline so that your 3D title appears in the viewer. 3. In the viewer, click the 3D title once. Final Cut Pro User Guide 297 The onscreen controls for the 3D title appear in the viewer, with position handles for the X, Y, and Z axes. 4. Do any of the following: • Move the object horizontally along its X axis: Drag the red arrow. • Move the object vertically along its Y axis: Drag the green arrow. • Move the object forward or backward along its Z axis: Drag the blue arrow. As you drag, the active arrow turns yellow, and the status bar above the viewer displays the current coordinates of the object as well as the distance the object has moved (the delta). Coordinates are given in the form of X, Y, and Z. Modify basic 3D text attributes Adjust basic 3D text settings in Final Cut Pro In many ways, 3D text is just like 2D text, and you can modify most of the text attributes (including font, size, tracking, line spacing, and capitalization) exactly the same way you modify those attributes for 2D text. Note: To modify the depth, texture, and lighting attributes of 3D text, use the controls in the 3D Text section of the Text inspector. See Modify depth and edges, Intro to materials, and Intro to 3D text lighting. 1. Double-click a 3D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. Final Cut Pro User Guide 298 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Adjust the basic text settings as needed. For a list of available controls, see Text inspector controls. For basic instructions on working with 2D or 3D titles, see Adjust titles. Note: To reveal the controls in each of the sections, you may need to scroll down in the Text inspector and double-click each section name. Modify 3D text depth and edges in Final Cut Pro One of the most obvious differences between 2D text and 3D text is that 3D text has depth. This attribute, as well as a number of other basic aspects of a 3D title’s appearance (such as text weight, edge style, and corner style), can be set in the 3D Text section of the Text inspector. Adjust 3D text depth 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, drag the Depth slider to the left to decrease depth, or to the right to increase depth. Final Cut Pro User Guide 299 Tip: To create different letters at different depths, select the letters in the Text field at the top of the Text inspector. The 3D Text controls then affect only the selected letters. For more information about working with individual letters, see Text inspector controls. Change text depth direction 3D text depth can be set to extrude in different directions: forward, backward, or centered on the original text plane. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Depth Direction pop-up menu and choose one of the following settings: • Backward: The text object is extruded backward from the plane where the text was initially added. • Forward: The text object is extruded forward from the plane where the text was initially added. • Centered: The text object is extruded equally both forward and backward from the plane where the text was initially added. Change text weight You can adjust 3D text to appear thicker or thinner. Whereas increasing the Size value makes text larger by substituting a larger version of the font, increasing the Weight value uniformly thickens all the lines and serifs that make up the letters in the text object. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, drag the Weight slider to the left to make the text appear thinner, or to the right to make it appear thicker. Set the style of 3D text edges The places where the different facets of a 3D title meet are called edges. You can add bevels, ridges, rings, and other shapes to customize the appearance of these edges. You can set the back edge (between the back of the text and its sides) to be identical to the front edge (between the front and the sides), or you can set each to a different edge shape. 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 300 2. In the 3D Text section of the Text inspector, click the Front Edge pop-up menu and choose an edge style. 3. Click the Back Edge pop-up menu and choose an edge style. If you choose Same As Front, the style you chose in step 2 is applied to the back edge of the 3D title. Adjust the size of text edges If you change the style of the front edge or back edge of a 3D title to anything other than square, you can also adjust the size of that edge. If the back edge is set to something other than Same As Front (or Square), you can adjust the size of the back edge independently from that of the front. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Front Edge pop-up menu and choose a setting other than Square. The Front Edge Size slider appears. 3. Drag the Front Edge Size slider to the left to make the edge smaller, or to the right to make the edge larger. To modify the width and depth of the edges independently, click the disclosure triangle to the left of the Front Edge Size slider, then drag the Width or Depth slider. 4. Click the Back Edge pop-up menu and choose a setting other than Same As Front or Square. The Back Edge Size slider appears. Final Cut Pro User Guide 301 5. Drag the Back Edge Size slider to the left to make the edge smaller, or to the right to make the edge larger. Note: You can’t see the back edge of the text object unless you rotate the title. See Rotate titles in 3D space. Set the style of text inside corners When the front edge or back edge of a 3D title is set to anything other than Square, you can customize text with inside corners (for example, the angles in the letter E). 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Inside Corners pop-up menu and choose one of the following options: • Straight: Sets all corners to sharp angles. • Round: Softens the sharpness of corners by adding a round curve to each sharp angle. • Miter: Smoothes the sharpness of corners in a more subtle way, by adding an additional angle known as a miter. 3D Text controls in Final Cut Pro In Final Cut Pro, adjust depth, weight, and edge attributes using the controls in the 3D Text section of the Text inspector. To access these controls, select a 3D title clip in the timeline and choose Window > Show in Workspace > Inspector (or press Command-4). Final Cut Pro User Guide 302 • 3D Text: A checkbox that, when selected, applies 3D attributes to selected text in your project and enables 3D controls. Deselecting this checkbox converts selected 3D text to 2D text and disables 3D controls. When this checkbox is selected, the following controls become available for adjustment: • Depth: A slider that sets the thickness of selected 3D text. • Depth Direction: A pop-up menu that sets whether selected 3D text is extruded backward, forward, or equally from front to back. • Weight: A slider that makes selected 3D text appear heavier or lighter. • Front Edge: A pop-up menu that sets the style of the front edge of selected 3D text. • Front Edge Size: A slider that adjusts the width and depth of the chosen edge style. Click the disclosure triangle to reveal separate Width and Depth sliders. • Back Edge: A pop-up menu that sets the style of the back edge of selected 3D text. • Inside Corners: A pop-up menu that sets the style of the inner corners of characters (such as angles in the letter E) in selected 3D text. Modify surface appearance Intro to 3D text materials in Final Cut Pro 3D titles in Final Cut Pro have properties designed to give them a natural and realistic appearance. They respond to lighting conditions and exhibit shading, reflectivity, and other attributes of real-world objects. Attributes that define an object’s surface appearance are called materials. After you create a 3D title, you can apply a preset material or create a custom material composed of one or more material layers—image overlays that combine to create a naturalistic 3D texture. Final Cut Pro User Guide 303 Think of material layers as the building blocks for creating an object in real life. For example, you might begin creating an object by deciding what substance it should be made of—wood, plastic, metal, and so on. Depending on what that basic substance is, the object will have some fundamental properties, such as color, texture, and reflectivity. Next, you apply paint or another finish to the object to change its color, sheen, and reflectivity. In Final Cut Pro, you can even apply a “distress” layer to add a bit of texture, aging, or other elements to make the object feel more organic and realistic. Each material layer type has a variety of controls and settings to customize the specific look and feel of the material. You can apply multiple material layers of differing types to compound their effects, and you can rearrange the order in which material layers are applied to create varied effects. You can also apply different materials to specific facets of a 3D title. Final Cut Pro User Guide 304 Add preset materials to 3D text in Final Cut Pro The quickest way to give your 3D title a naturalistic texture is to apply one of the preset materials built into Final Cut Pro. Below are some examples of the many preset 3D materials available in Final Cut Pro: 1. Add a 3D title to your Final Cut Pro project. 2. Double-click the 3D title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 305 5. In the Material section of the 3D Text section, click the preview thumbnail. A pop-up menu showing the material presets categories appears. 6. Click the pop-up menu and choose a material category, then click the submenu and choose a preset. The preset 3D material is applied to the text object. You can modify any of the preset materials or add new material layers to create custom textures. See Modify materials and Work with material layers. Modify 3D text materials in Final Cut Pro When you add a new 3D title, it appears with a default 3D material preset applied: a matte white plastic texture (Basic). Most of the other preset materials in Final Cut Pro are more complex, composed of multiple material layers—combinations of substance, paint, finish, and distress overlays that create a naturalistic 3D texture. For example, the Brushed Metal preset combines an Aluminum substance layer with a Brushed finish layer. The Golf Ball preset combines a Plastic substance layer with a Polish finish layer, a Dirt distress layer, and a Bumps distress layer (set to –500% to create a dimple effect). You adjust each of these material layers in the Material section of the Text inspector. As you modify these settings, your 3D title is updated instantly in the viewer, allowing you to fine-tune the look you want to achieve. Final Cut Pro User Guide 306 Modify material layers used in a 3D texture You can create a custom material by applying a preset material and then modifying it. This example shows how to modify the Substance layer of a simple 3D texture. 1. In the Final Cut Pro timeline, select a 3D title and apply a preset material to it. See Add preset materials. The preview thumbnail of the preset you applied appears in the Text inspector, in the Material section of the 3D Text section. The material layers included in the preset appear below the preview thumbnail. For example, the Basic material preset has a single material layer, Substance, which is set to Plastic. Additional Substance settings specify the type of plastic (Shiny) as well as the color (White). 2. Click the Substance pop-up menu and choose a substance category. Depending on the option you choose, additional controls may appear. 3. Click the Type pop-up menu (below the Substance pop-up menu) and choose a substance belonging to the category you chose above. Depending on the option you choose, additional controls may appear. Final Cut Pro User Guide 307 4. Adjust other available Substance settings, such as Color, Brightness, Roughness, and so on. As you make adjustments, the preview thumbnail is updated in the Material section, and the 3D title is updated in the viewer. For more information about material layer controls, see Intro to Material controls. Rename a modified material When you modify material layers, the preview thumbnail in the Text inspector is updated to show the new texture. However, the preset name under the preview thumbnail remains the same (“Basic” for titles added from the 3D category). You can rename the material to better describe the modified material. 1. In the Final Cut Pro timeline, select a 3D title with a modified preset material. 2. In the Material section of the 3D Text section of the Text inspector, double-click the name of the material (beneath the preview thumbnail). The material is renamed for the selected 3D title. Other instances of the preset are not affected. 3. Type a new name, and press Return. Restore a preset material’s original settings 1. In the Final Cut Pro timeline, select a 3D title with a modified preset material. 2. In the Material section of the 3D Text section of the Text inspector, click the preview thumbnail and choose a preset from the pop-up menu. The original settings stored in the preset are applied to the selected facet. Other customized instances of the preset are not affected. You can also save any changes you’ve made as a new custom material to be shared or reused. See Save modified materials. Work with 3D text material layers in Final Cut Pro You can add multiple material layers to create more complicated textures for your 3D titles. For example, if you combine an Aluminum substance layer with a Grey Granite substance layer, your 3D text takes on a metallic ore finish that may or may not exist in nature. Likewise, you can add paint layers, finish layers, distress layers, and emit layers to create highly realistic (or highly fanciful) textures that show signs of aging, dirtiness, radiance, and other real-world qualities. The order in which material layers are applied affects the appearance of the object. For example, you might add a wood surface layer, a paint layer, and various distress layers to create a material that looks like painted wood that is aged and worn. Each layer affects the layers stacked beneath it in the Text inspector, and rearranging the layers creates different results. You can also remove, rearrange, or temporarily disable material layers. Final Cut Pro User Guide 308 Add a material layer to a 3D texture 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Material section of the 3D Text section, click the Add Layer pop-up menu, then choose a new material layer type (Substance, Paint, Finish, Distress, or Emit) and subtype. The new material layer and its adjustable controls appear in the Material section. 5. To add another material layer, repeat step 4. 6. Adjust the material layer controls in the Material section to achieve the look you want. For more information about material layer controls, see Intro to Material controls. Final Cut Pro User Guide 309 Enable or disable material layers You can temporarily turn off or turn on any material layer to see how it’s affecting the overall texture. • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click the checkbox to the left of the material layer type (Substance, Paint, Distress, and so on). When the checkbox is highlighted blue, the effect of the material layer is visible in the viewer. When the checkbox is not highlighted, the effect is turned off. Rearrange the stacking order of material layers The stacking order of material layers in the Material section of the Text inspector affects a 3D texture’s appearance in the viewer. You can rearrange the stacking order to create different looks. • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, drag a material layer name (Substance, Paint, Distress, and so on) to a new position in the stack. Remove a material layer • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click a material layer name (Substance, Paint, Distress, and so on), then press Delete. Tip: To select and modify multiple material layers at once (for example, to delete or rearrange all the layers), Shift-click or Command-click the layers. Final Cut Pro User Guide 310 Add a light-emitting material to 3D text in Final Cut Pro The Emit material layer type causes the selected 3D text layer to appear to be selfilluminating rather than just reflecting other light. The light emitted using this method does not illuminate other objects or cause shadows to be cast. In fact, the Emit layer is a texture with a single color or gradient, which is superimposed on top of the 3D title. This makes the image appear brighter. Depending on which type of fill you choose, a different set of options appears. 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Material section of the 3D Text section, click the Add Layer pop-up menu and choose Emit. An Emit section is added to the Text inspector. 5. Click the Fill pop-up menu and choose a fill type (Color or Gradient). The fill type determines what additional parameters appear in the Emit section of the Text inspector. For a description of all Emit parameters, see Emit controls. Final Cut Pro User Guide 311 Save modified 3D text materials in Final Cut Pro After you create your own materials, you can save those textures as custom presets. Saving a modified material as a custom preset includes all material layers shown in the Text inspector at the time of saving (including disabled material layers). 1. In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click the preview thumbnail and choose Save Material from the pop-up menu. 2. In the Save Preset window, type a descriptive name for the preset, then click Save. The currently selected material is saved as a preset. Saved preset materials appear in alphabetical order at the bottom of the material presets pop-up menu. You can apply the preset as you would any other material preset. Note: You can organize saved custom preset materials using Motion, an Apple app designed to work with Final Cut Pro. See the information about organizing saved custom preset materials in the Motion User Guide. Final Cut Pro User Guide 312 Add materials to 3D text facets in Final Cut Pro By default, applying a material to a 3D title causes all facets of the text to display the same material. But a 3D title can also display different materials on its different facets. For example, you can apply car paint to the front facet and a shiny metal appearance to the side facet. You can even apply a different material to the edges—facets that join a title’s front (or back) with its sides. If the same material is applied to more than one facet, you can modify the facets’ settings simultaneously to ensure that the settings remain consistent. You can also link facets together so that they remain identical. Apply a material to a specific facet of 3D text 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 313 4. In the Material section of the 3D Text section, click the Material pop-up menu and choose Multiple. Five preview thumbnails appear, representing the five facets of 3D text: Front, Front Edge, Side, Back Edge, and Back. 5. Do any of the following: • Apply a preset material to a facet: Click the preview thumbnail for the facet, then choose a new preset material from the pop-up menu. • Apply a custom material to a facet: Click the name of the facet to show its material layers, then adjust those material layers or add new ones. See Modify materials. The facet is updated to display the new material—both in your 3D title in the viewer and in the preview thumbnail in the Material section of the Text inspector. Apply a material to multiple facets simultaneously 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Multiple. Five preview thumbnails appear, representing the five facets of 3D text: Front, Front Edge, Side, Back Edge, and Back. 3. Do one of the following: • Click the broken link icon for each facet you want to modify. • Shift-click the names of the facets you want to modify. The selected facets are highlighted in blue. Final Cut Pro User Guide 314 4. Click the preview thumbnail for any of the highlighted facets, then choose a new preset material from the pop-up menu. The facets are updated to display the new material—both in your 3D title in the viewer and in the preview thumbnails in the inspector. The facets are also automatically linked together so that further changes to any of them affect all of them. Link facets together You can link two or more facets together so that changes made to one of them are automatically applied to the others. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Multiple. 3. Shift-click the names of two or more facets you want to link. 4. Click the broken link icon on one of the selected facets. The selected facets are linked and display blue active link icons . 5. To add another facet to the group, click its broken link icon. The additional facet is linked to the group. Now when you select any facet in the linked group, all linked facets are highlighted. Changes made to any of the highlighted facets are automatically made to all other facets in the linked group. To remove a facet from a linked group, click the link icon for the facet you want to unlink. The facet is deselected and removed from the group. Final Cut Pro User Guide 315 Revert from multiple facets to a single facet 1. In the Final Cut Pro timeline, select a 3D title set to multiple facets. See Apply a material to multiple facets simultaneously. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Single. The five preview thumbnails are replaced by a single preview thumbnail, and all facets revert to the material that was applied to the selected facet. Any modifications you made to materials on other facets are permanently discarded. Material controls Intro to Material controls in Final Cut Pro The preset or custom materials you apply to 3D text are made up of one or more material layers—Substance, Paint, Finish, Distress, and so on—that combine to create a complex texture. When you select a 3D title, its material layers appear in the Material section of the 3D Text section of the Text inspector, stacked under the Material preview thumbnail. You can adjust the parameter controls in each of these material layers to modify the texture applied to your 3D title. For a complete list of controls in each type of material layer, see the following topics: • Substance controls • Paint controls • Finish controls • Distress controls • Emit controls • Placement controls Final Cut Pro User Guide 316 Substance controls in Final Cut Pro Use the Substance controls, in the Material section of the 3D Text section of the Text inspector, to modify the basic surface texture of 3D text. Depending on the option you choose in the Substance pop-up menu, different parameter controls become available. • Substance: A pop-up menu to set a substance type: Concrete, Fabric, Metal, Plastic, Stone, Wood, Flat, or Generic. When Substance is set to Concrete • Type: A pop-up menu to choose a style of concrete (Aged, Smooth, and so on). • Depth: A slider to adjust the depth of surface irregularities in the concrete substance. • Placement: A group of controls (available when you click the disclosure triangle) to set how the concrete pattern is applied to the text object. See Placement controls. When Substance is set to Fabric • Type: A pop-up menu to choose a style of fabric (Denim, Leather, Wool, and so on). • Roughness: A slider to adjust how raised and uneven the fabric pattern appears. • Placement: A group of controls (available when you click the disclosure triangle) to set how the fabric pattern is applied to the text object. See Placement controls. Final Cut Pro User Guide 317 When Substance is set to Metal • Type: A pop-up menu to choose a style of metal (Brass, Gold, Steel, and so on). There is also a Custom option that allows you to use a custom gradient for the metal’s reflection. See Intro to the gradient editor. • Shininess: A slider to adjust how reflective the surface appears. • Thickness: A slider to adjust the apparent thickness of the metal surface when it’s applied on top of another substance layer. You can control this effect more precisely by clicking the disclosure triangle and adjusting the Base and Highlight sliders. When Substance is set to Plastic • Type: A pop-up menu to choose any of three plastic styles: Shiny, Matte, or Textured. • Color Type: A pop-up menu to choose whether the plastic surface is a solid color or a gradient. • Color: A color control (available when Color Type is set to Color) to set the color of the plastic. • Gradient: A gradient control (available when Color Type is set to Gradient) to determine how the gradient is applied to the text object. • Texture Depth: A slider (available when Type is set to Textured) to adjust how visible the texture appears on the object. • Placement: A group of controls (available when Type is set to Textured) to determine how the texture is applied to the text object. See Placement controls. When Substance is set to Stone • Type: A pop-up menu to choose a style of stone (Limestone, Granite, Slate, and so on). • Depth: A slider to adjust the depth of surface irregularities in the stone substance. Final Cut Pro User Guide 318 • Placement: A group of controls (available when you click the disclosure triangle) to set how the stone pattern is applied to the text object. See Placement controls. When Substance is set to Wood • Type: A pop-up menu to choose a style of wood (Ash, Bamboo, Walnut, and so on). • Grain Depth: A slider to adjust the depth of grain in the wood substance. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wood pattern is applied to the text object. See Placement controls. When Substance is set to Flat Use the Flat substance type to create an object that has depth but is unaffected by light or shadows. Flat creates a “2.5-dimensional” look popular in graffiti and pop-art styles. • Surface: A pop-up menu to choose whether the surface displays a color or a gradient. • Color: A color control (available when Surface is set to Color) to set the color of the text. • Gradient: A gradient control (available when Surface is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Intensity: A slider to adjust the vibrancy of the chosen Surface option (Color or Gradient). • Opacity: A slider to adjust the transparency of the chosen Surface option (Color or Gradient). Drag to the left to make the surface appear more transparent, or drag to the right to make the surface appear more opaque. • Enable Edge: A group of controls (available when you click the disclosure triangle) that creates a dynamic effect for how edges are rendered based on the relative position of the camera. As the text changes position (relative to the camera), the shading changes. You can enable or disable these controls by selecting or deselecting the checkbox to the left of the Enable Edge disclosure triangle. • Edge Amount: A slider to adjust how visible the edges of the selected substance layer appear. • Invert: A checkbox that, when selected, inverts the visible area of the edges for the selected substance layer. Final Cut Pro User Guide 319 • Blend Mode: A pop-up menu to control how flat substance layers interact with layers below them. Choose one of the following methods: • Normal: The visible areas of the topmost substance layer obscure the edges of the layers below. • Multiply: The visible areas of the substance layers are multiplied together so that the darker areas of each layer appear on the edges of the text object. • Add: The visible areas of the layers are added together so that the lighter areas of each layer appear on the edges of the text object. When Substance is set to Generic The Generic substance type is used by some of the preset materials available in Final Cut Pro. When Substance is set to Generic, a neutral surface is generated, to which a solid color or gradient can be applied. This substance type is usually used in conjunction with the Custom Specular or Custom Bump finish layer to create unique looks. • Surface: A pop-up menu to choose whether the surface displays a color or a gradient. • Color: A color control available when Surface is set to Color. • Gradient: A gradient control (available when Surface is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Brightness: A slider to adjust how much light is reflected by the surface of the text object. You can control this effect more precisely by clicking the disclosure triangle and adjusting the following controls: • Lights: A slider to adjust how much light from light sources reflects off the surface of the text object. • Environment: A slider to adjust how much environmental light reflects off the surface of the text object. See Change the lighting environment. • Opacity: A slider to adjust the transparency of the substance layer. Drag to the left to make the substance more transparent, or drag to the right to make it more opaque. Paint controls in Final Cut Pro Use the Paint controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of a coat of paint added to the surface of the 3D title. Depending on the option you choose in the Paint pop-up menu, different parameter controls become available. Final Cut Pro User Guide 320 • Paint: A pop-up menu to set a paint type: Smooth Paint, Textured Paint, Watercolor, or Reflective Paint. When Paint is set to Smooth Paint • Color Type: A pop-up menu to choose whether the paint is a solid color or a gradient. • Paint Color: A color control (available when Color Type is set to Color) to set the color of the paint. • Paint Gradient: A gradient control (available when Color Type is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Sheen: A slider to adjust the apparent shininess of the paint surface. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. When Paint is set to Textured Paint • Color Type: A pop-up menu to choose whether the paint is a solid color or a gradient. • Paint Color: A color control (available when Color Type is set to Color) to set the color of the paint. • Paint Gradient: A gradient control (available when Color Type is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Sheen: A slider to adjust the apparent shininess of the paint surface. • Surface Texture: A pop-up menu to choose a texture to apply. • Texture Depth: A slider to adjust the visibility of the texture on the surface of the 3D title. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Placement: A group of controls (available when you click the disclosure triangle) to set how the paint texture is applied to the text object. See Placement controls. When Paint is set to Watercolor • Paint Color: A control to set the color of the paint. • Sheen: A slider to adjust the apparent shininess of the paint surface. Final Cut Pro User Guide 321 • Opacity: A slider to adjust the visibility of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Placement: A group of controls (available when you click the disclosure triangle) to set how the watercolor pattern is applied to the text object. See Placement controls. When Paint is set to Reflective Paint • Paint Job: A pop-up menu to choose the type of reflective paint (Velvet, Pearl, Electric, and so on). • Paint Color: A control to set the color of the reflective paint. • Second Color: A color control to set a second paint color (available for some Paint Job types). • Sheen: A slider to adjust the apparent shininess of the paint surface. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Diffuse Brightness: A slider (available when Paint Job is set to Custom) to set the amount of color reflected by the text object. • Specular Brightness: A slider (available when Paint Job is set to Custom) to set the amount of light reflected by the text object. • Shininess: A slider (available when Paint Job is set to Custom) to set how mirror-like the surface appears. • Face Opacity: A slider (available when Paint Job is set to Custom) to set how transparent the paint effect is on surfaces that are more perpendicular to the camera. • Edge Opacity: A slider (available when Paint Job is set to Custom) to set how transparent the paint effect appears on surfaces that are more parallel to the camera. • Fresnel: A slider (available when Paint Job is set to Custom) to set how much the viewing angle affects the reflectivity of the object. A high Fresnel value means that there’s a strong change in reflectivity as the viewing angle changes; a low Fresnel value means that the reflectivity remains relatively consistent regardless of viewing angle. Finish controls in Final Cut Pro Use the Finish controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of a layer of finish (such as polish, enamel, and so on) added to the surface of the 3D title. Depending on the option you choose in the Finish pop-up menu, different parameter controls become available. • Finish: A pop-up menu to choose a finish type: Polish, Enamel, Brushed, Textured, or Custom Specular. Final Cut Pro User Guide 322 When Finish is set to Polish • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. When Finish is set to Enamel • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Highlight Color: A color control to set a color to tint the highlights that appear in reflections on the text object’s surface. Note: The enamel setting effectively negates any bumpiness on layers beneath it (just like the effect of adding enamel to a rough surface in the real world). For example, if you place this layer over a wood layer, the grain depth of the wood is ignored no matter how high you set that parameter. When Finish is set to Brushed • Type: A pop-up menu to choose a brush pattern: Linear, Circular, or Overlapping Circular. • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Depth: A slider to adjust the apparent depth of the brush pattern. • Reverse Depth: A checkbox that, when selected, inverts the brush pattern, making dark areas appear raised and light areas appear sunken into the surface. • Placement: A group of controls (available when you click the disclosure triangle) to set how the brush pattern is applied to the text object. See Placement controls. When Finish is set to Textured • Type: A pop-up menu to choose a texture: Combed, Cracked, Eggshell, and so on. • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Depth: A slider to adjust the apparent depth of the texture pattern. Final Cut Pro User Guide 323 • Reverse Depth: A checkbox that, when selected, inverts the texture pattern, making dark areas appear raised and light areas appear sunken into the surface. • Placement: A group of controls (available when you click the disclosure triangle) to set how the texture is applied to the text object. See Placement controls. When Finish is set to Custom Specular • Intensity: A slider to adjust the amount of light reflected in the text object’s surface. You can control the intensity of lights and environmental light separately by clicking the disclosure triangle and adjusting the following two sliders: • Lights: A slider to adjust the amount of light reflected in the object’s surface. • Environment: A slider to adjust the amount of environmental light reflected in the object’s surface. For more information about these lighting options, see Intro to 3D text lighting. • Intensity Image: A checkbox selected by default for certain material presets (such as those in the Grunge category) that use a built-in image as an “intensity map” in a Custom Specular finish layer. An intensity map makes brighter areas of the image reflect more light, and darker areas reflect less light. An intensity map creates the effect of a pattern or smudge on the object’s surface that dynamically modifies or limits the reflectivity of the object. Note: The Intensity Image controls in Final Cut Pro are available for a limited set of material presets only. However, you can assign a custom image as an intensity map in Motion, an Apple app designed to work with Final Cut Pro. See the Motion User Guide. Apply a preset to your title, then click the disclosure triangle to reveal the following controls: • White Level: A slider that sets the brightness point above which areas of the intensity map allow reflections to pass and be visible. Lowering the White Level value makes the intensity map more transparent, reducing reflectivity. • Black Level: A slider that sets the brightness point below which areas of the intensity map prevent reflections from passing. Raising the Black Level value means more of the image appears opaque. • Wrap Mode: A pop-up menu to choose what happens if the image is smaller than the text object. Choose one of the following options: • None: The image is applied once, and areas of the text object that exceed the scope of the image are not covered. • Repeat: The image is applied and reapplied as often as necessary, creating a pattern to fill the area beyond the scope of the original image. • Mirror: The image is applied to the text object, then applied again in an inverted, reversed orientation to cover the area beyond the scope of the original image. • Placement: A group of controls (available when you click the disclosure triangle) to set how the intensity map is applied to the text object. See Placement controls. • Shininess: A slider to adjust how mirror-like the object appears. You can control this effect more precisely by clicking the disclosure triangle and adjusting two additional sliders: Final Cut Pro User Guide 324 • Lights: A slider to adjust how sharply lights are reflected in the surface of the object. A higher value makes light reflections more sharply defined, and a lower value creates blurrier light reflections. • Environment: A slider to adjust how sharply the environment image is reflected in the surface of the object. A higher value makes the environment more clearly visible in reflections, and a lower value creates blurrier reflections of the environment. For more information about lighting options, see Intro to 3D text lighting. • Shininess Image: A checkbox selected by default for certain material presets (such as those in the Grunge category) that use a built-in image as a “shininess map” in a Custom Specular finish layer. A shininess map controls how sharp or mirror-like the object appears. Note: The Shininess Image controls in Final Cut Pro are available for a limited set of material presets only. However, you can assign a custom image as a shininess map in Motion, an Apple app designed to work with Final Cut Pro. See the Motion User Guide. Apply a preset to your title, then click the disclosure triangle to reveal the following controls: • White Level: A slider that sets the brightness point above which areas of the shininess map enable a clear, mirror-like reflection in the surface. Lowering the White Level value means more of the reflection appears clear and mirror-like. • Black Level: A slider that sets the brightness point below which areas of the shininess map create a dulling or blurring effect on the object’s reflections. Raising the Black Level value means more of the reflection appears blurry. • Wrap Mode: A pop-up menu to choose what happens if the image is smaller than the text object. Choose one of the following options: • None: The image is applied once, and areas of the text object that exceed the scope of the image are not covered. • Repeat: The image is applied and reapplied as often as necessary, creating a pattern to fill the area beyond the scope of the original image. • Mirror: The image is applied to the text object, then applied again in an inverted, reversed orientation to cover the area beyond the scope of the original image. • Placement: A group of controls (available when you click the disclosure triangle) to set how the shininess map is applied to the text object. See Placement controls. • Specular Color: A pop-up menu to choose whether the specular color is based on the current surface or a solid color. Use this control to add a hue (or pattern) that colors the reflection as if the material were made of that color or pattern. For example, adding an orange specular color causes reflections to have an orange hue, as if the 3D title were made of copper. • Surface Blend: A slider (available when Specular Color is set to From Surface) to adjust the amount of the underlying color blended into the highlights. • Color: A control (available when Specular Color is set to Solid Color) to set the color of reflections to a color you choose (as opposed to the color of the current surface). Final Cut Pro User Guide 325 • Anisotropic: A checkbox that, when selected, activates a set of controls that limit the Custom Specular effect to a particular pattern or direction (as opposed to the default method, which disperses the specular effect in many directions at once). This allows you to distort the highlights created by lighting styles and scene lights. Click the disclosure triangle to reveal the following controls: • Geometry: A pop-up menu to choose whether the anisotropic effect is linear or cylindrical. • Placement: A pop-up menu to choose whether the anisotropic effect placement is independent or shared. See Placement controls. • Place On: A pop-up menu to choose whether the anisotropic effect is applied to individual glyphs (letters) in a text object or to the entire text object. • Orientation: Dials (available when Geometry is set to Linear) to set the direction of the linear anisotropic specular effect. • Position: Value sliders (available when Geometry is set to Cylindrical) to set the position where the cylindrical anisotropic specular effect is centered. • Highlight Sharpness: A slider to adjust the shape of the reflected highlight, making it narrow or wide. Note: For details about anisotropic controls, see the Motion User Guide. Distress controls in Final Cut Pro Use the Distress controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of wear or degradation on the surface of the 3D title. Depending on the option you choose in the Distress pop-up menu, different parameter controls become available. • Distress: A pop-up to choose a distress type: Scratches, Stains, Dirt, Dents, Wavy, Bumps, Perforated, Wrinkles, or Custom Bumps. Final Cut Pro User Guide 326 When Distress is set to Scratches • Type: A pop-up menu to choose a scratch pattern. • Depth: A slider to adjust the apparent depth of the scratches. • Placement: A group of controls (available when you click the disclosure triangle) to set how the scratch pattern is applied to the text object. See Placement controls. When Distress is set to Stains • Type: A pop-up menu to choose a stain pattern. • Opacity: A slider to adjust the transparency of the stain pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the stain pattern is applied to the text object. See Placement controls. When Distress is set to Dirt • Type: A pop-up menu to choose a dirt pattern. • Opacity: A slider to adjust the transparency of the dirt pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the dirt pattern is applied to the text object. See Placement controls. When Distress is set to Dents • Type: A pop-up menu to choose a dent pattern. • Depth: A slider to adjust the apparent depth of the dents in the 3D title. • Placement: A group of controls (available when you click the disclosure triangle) to set how the dent pattern is applied to the text object. See Placement controls. When Distress is set to Wavy • Depth: A slider to adjust the apparent depth of the wave pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wave pattern is applied to the text object. See Placement controls. When Distress is set to Bumps • Type: A pop-up menu to choose a bump pattern. • Depth: A slider to adjust the apparent depth of the bump pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the bump pattern is applied to the text object. See Placement controls. When Distress is set to Perforated • Type: A pop-up menu to choose a perforation pattern. • Depth: A slider to adjust the apparent depth of the perforation pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the perforation pattern is applied to the text object. See Placement controls. Final Cut Pro User Guide 327 When Distress is set to Wrinkles • Type: A pop-up menu to choose a wrinkle pattern. • Depth: A slider to adjust the apparent depth of the wrinkles. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wrinkle pattern is applied to the text object. See Placement controls. When Distress is set to Custom Bumps Note: The Custom Bumps distress type is available in a limited set of preset materials that use a built-in image as a bump map. For example, the Scales preset in the Miscellaneous category uses the Custom Bumps distress type. For details about custom bump maps, see the Motion User Guide. • Bump Map Gain: A slider to increase or decrease the contrast of the bump map image, giving the effect of larger or smaller bumps. • Blend Mode: A pop-up menu to choose how multiple bump layers interact with each other. Choose one of two options: • Add: Uses a mathematical add operation, allowing the lighter areas of each layer to shine through. • Replace: Overrides the bump attributes of underlying layers. Emit controls in Final Cut Pro Use the Emit controls to apply a radiance effect to 3D text, as if the text were emitting its own light. When you add an emit layer to a 3D title, the following controls appear in the Material section of the 3D Text section of the Text inspector. • Fill: A pop-up menu to choose whether the light emitted is based on a solid color or a gradient. • Color: A color control (available when Fill is set to Color) to select the color to be emitted. • Gradient: A gradient control (available when Fill is set to Gradient) to create a custom gradient for the colors to be emitted. See Intro to the gradient editor. • Intensity: A slider to adjust the strength of the light emitted from the text object. • Coverage: A slider to adjust how visible the emit layer is, based on the opacity of the layer. A value of 100% (the default) causes the emit layer to be visible regardless of the opacity of the layers beneath it. A value of 0% means that the emit layer shines only where the material is opaque. Final Cut Pro User Guide 328 Placement controls in Final Cut Pro Many material layers include graphic images (with fixed dimensions) that are applied to the 3D title—for example, the pattern of a fabric or the wrinkles of a distress layer. In the Material section of the Text inspector, the controls for each of these layers include a set of Placement controls you can use to define the way the image is mapped onto the text object. If you want to apply placement settings to more than one layer at once, you can designate the placement for those layers as Shared. In that case, Shared Placement controls appear in the Material section of the Text inspector and replace the Placement controls for the individual layers. Layers that have Placement set to Independent are not affected by the Shared Placement settings. As you add additional layers that include Placement controls, you can choose whether they use the shared settings or are controlled individually. The Material section of the Text inspector also has a set of Global Placement controls you can use to randomize the placement of any textures applied in any material layer. These settings apply to all textures regardless of whether they are designated as Independent or Shared. Independent Placement controls These controls appear in each material layer that includes a texture that is applied to the 3D title. • Placement: A pop-up menu to choose whether the mapping of the image is independent, meaning that the controls below affect the placement of the image, or shared with the other images being placed on the selected 3D title. When Placement is set to Shared, the rest of the placement parameters in the material layer are hidden, because the layer is now controlled by the Shared Placement settings in the Options section. • Place On: A pop-up menu to choose whether to apply the image or texture once to the entire text object, or individually to each glyph (letter). • Side Placement: A pop-up menu to choose how the mapped image or texture is applied to the sides of the text object. Choose one of the following options: • Normal: The image or texture is mapped onto the front and the sides of the text object in the same direction. • Turn 90°: The image or texture is mapped onto the front of the text object; the same image is mapped onto the sides of the text object, but is rotated by 90 degrees. Final Cut Pro User Guide 329 • Stretch From Edge: The image or texture is mapped onto the front of the text object; on the sides, the pixels on the edge are repeated, so that the pattern appears to be stretched over the sides of the text object. • Position: Value sliders to set the location where the image or texture is mapped onto the object. • Scale: A slider to adjust the magnification (zoom) level of the image or texture being mapped. Click the disclosure triangle to reveal separate X and Y scale sliders and the Scale With Font Size checkbox (described below). • Scale With Font Size: A checkbox (available when you click the Scale disclosure triangle) that, when selected, causes the size of the applied image or texture to change proportionally when you modify the font size of the text object. • Rotation: A dial to rotate the mapped image or texture around the Z axis. Click the disclosure triangle to reveal separate dials for rotating around the X, Y, and Z axes. Shared Placement controls These controls appear in the Options section of the Text inspector when the Placement pop-up menu for a material layer is set to Shared. These controls are identical to the Independent Placement controls described above. Global Placement controls These settings apply to all images being affected by Placement controls, independent or shared. These controls appear in the Options section of the Text inspector. You can create variations of the patterns Final Cut Pro uses to place textures, effects, and images onto text objects in your 3D titles. In some cases you may want the placement of the applied pattern to vary among the characters in your titles. The Random Seed feature is effectively a random-pattern generator for this purpose. • Randomize: A pop-up menu to choose whether to apply the randomness to just the sides, just the front and back, or all facets. • Random Seed: A control to choose a different random number to change the randompattern placement. Click the Generate button to have Final Cut Pro select a random number, or enter your own number in the text field. Final Cut Pro User Guide 330 Change lighting style Intro to 3D text lighting in Final Cut Pro 3D titles in Final Cut Pro are designed to simulate the shading and reflectivity of threedimensional objects in the real world reacting to local lighting conditions and the surrounding environment. The built-in lighting and environment controls greatly simplify the process of creating natural-looking 3D titles. Also, because reflectivity is a fundamental aspect of what makes three-dimensional objects appear realistic, Final Cut Pro allows you to control what’s reflected in 3D titles. You can choose from a range of preset environments, or you can create your own custom environment. Adjust 3D text lighting in Final Cut Pro All 3D titles in Final Cut Pro have a set of built-in options that simulate basic lighting conditions, so you can create natural-looking scenes quickly and easily. Modify the lighting style 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 331 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Lighting section of the 3D Text section, click the Lighting Style pop-up menu and choose a lighting style. Tip: In the case of the Backlit option, default environmental light will cause some illumination to fall on the front surface of the title. To create an effect where the front of the object appears entirely unlit (like the Backlit preview sphere), deselect the Environment checkbox. Final Cut Pro User Guide 332 5. Drag the Intensity slider to increase or decrease the amount of illumination. The following examples illustrate a few selected lighting styles using the default Soft Box Above lighting environment set to 80% intensity. For information about lighting environments, see Change the lighting environment. For a detailed list of all 3D text lighting controls, see Lighting controls. Control how 3D titles cast shadows In the real world, complex objects often cast shadows on parts of themselves. You can simulate this effect in Final Cut Pro using the Self Shadows controls. The following examples show what 3D text looks like with Self Shadows turned on and off. Both examples use the Diagonal Left lighting style. 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 333 2. In the Lighting section of the 3D Text section of the Text inspector, select the Self Shadows checkbox. Note: If Lighting Style is set to Off, the Self Shadows checkbox is hidden. With self-shadows enabled, one part of a 3D title casts a shadow on another part of the same title (depending on the light source position). Although this effect can add realism to a text object, in some cases it may add unwanted or distracting shadows. 3. Click the disclosure triangle next to the Self Shadows checkbox to reveal additional controls, then do any of the following: • Decrease the visibility of self shadows: Drag the Opacity slider to the left. • Soften the edges of self shadows, making them more subtle: Drag the Softness slider to the right. Change the 3D text lighting environment in Final Cut Pro Reflective objects such as 3D text need something to reflect. You can choose what’s reflected in the surface of 3D titles by enabling environment lighting. Environment lighting projects an image onto the 3D title to simulate a reflected world. Because environment lighting emulates the reflective properties of real-world objects, its effects are more noticeable on 3D text with shiny surfaces. The following examples show different lighting environments. (In these examples, Lighting Style is set to Off. For information about lighting styles, see Adjust 3D text lighting.) Final Cut Pro User Guide 334 Set the lighting environment for a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Lighting section of the 3D Text section, click Show next to the Environment section to show the Environment controls. 5. Click the Type pop-up menu and choose one of the preset lighting environments. Tip: You may need to rotate the 3D title around the X or Y axis to see different parts of the reflected environment. See Rotate titles in 3D space. Final Cut Pro User Guide 335 Modify the appearance of a reflected environment 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Lighting section of the Final Cut Pro Text inspector, click Show next to the Environment section to show the Environment controls. 3. Adjust the following controls: • Intensity: Adjust the brightness of the reflected image. • Rotation: Change the angle at which the environment image appears reflected in the 3D title. Tip: By default, environments rotate around the Y axis. To rotate around the other axes, expand the Rotation controls and adjust the dials. • Contrast: Control the relative difference in brightness between the light and dark areas in the reflected image. • Saturation: Control the amount of color visible in the reflected image. Turn off the environment reflection Because the Environment controls effectively add a light source to your 3D title (even when Lighting Style is set to Off), you may want to turn off Environment entirely—for example, if you add scene lights to create a custom lighting environment. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Lighting section of the 3D Text section of the Text inspector, deselect the Environment checkbox. Tip: For the most realistic results, make sure that all 3D titles in your project use the same reflection environment. Lighting controls in Final Cut Pro Adjust the controls in the Lighting section of the 3D Text section of the Text inspector to modify 3D text lighting. Lighting controls • Lighting Style: A pop-up menu to choose a preset lighting style for the selected 3D title. • Off: Disables the 3D text lighting controls. Choose this if you want to light your 3D title using environment lighting only. Note: You may also want to disable environment lighting. See Change the lighting environment. • Standard: Illuminates the text object from the front, from the left, and from the right. • Medium Center: Creates a soft, flat light illuminating the text object from the center. • Medium Left: Creates a soft, flat light illuminating the text object from the left. Final Cut Pro User Guide 336 • Medium Right: Creates a soft, flat light illuminating the text object from the right. • Above: Illuminates the text object from above. • Backlit: Illuminates the text object from behind. Note: By default, environmental light causes additional illumination to fall on the front surface of the text object. To create a backlighting effect where the front of the text object appears entirely unlit, deselect the checkbox for the Environment controls to disable environment lighting. See Change the lighting environment. • Below: Illuminates the text object from the bottom. • Diagonal Left: Illuminates the text object from the upper-left corner. • Diagonal Right: Illuminates the text object from the upper-right corner. • Drama Top Left: Illuminates the text object from the top and left sides, with no illumination at all on the right or bottom. • Drama Top Right: Illuminates the text object from the top and right sides, with no illumination at all on the left or bottom. • Intensity: A slider to adjust the strength of the light falling on the 3D title. • Self Shadows: A group of controls (available when you click the disclosure triangle) to set whether and how the lighting causes text glyphs (individual characters) to cast shadows upon the other glyphs in the text object. When Self Shadows is enabled, two additional controls become available: • Opacity: A slider to adjust how visible the shadows are. • Softness: A slider to adjust how blurred the shadows appear. Environment controls • Environment: A checkbox that, when selected, enables a reflective lighting effect so that 3D text appears to reflect lighting from a surrounding environment. Click the disclosure triangle to reveal additional adjustment controls: • Type: A pop-up menu to choose one of the preset environments. • Intensity: A slider to adjust the strength of the environmental light. • Rotation: A dial that controls the angle at which the environment image is mapped onto the object. • Contrast: A slider that increases or decreases the contrast of the environment image. More contrast creates weaker midtones, brighter highlights, and darker shadows; less contrast creates stronger midtones, muted highlights, and muted shadows. • Saturation: A slider to adjust the visibility of the colors within the environment image. More saturation creates more visible color; less saturation creates a more monochromatic image. • Anisotropic: A checkbox that creates more realistic distortions in reflections for the Custom Specular or Brushed finish layers. Although this setting improves realism, it can impact performance. Final Cut Pro User Guide 337 Add 3D text glows or shadows in Final Cut Pro You can apply standard glow and drop shadow effects to 3D titles just as you would to 2D titles. However, the results always appear in only two dimensions. Add a glow effect to a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Select the checkbox to the left of the Glow heading (near the bottom of the Text inspector). The checkbox is highlighted blue, and a yellow glow is applied to the title. 5. Double-click the Glow heading to display parameter controls, then adjust Color, Opacity, and other settings to customize the glow effect. Note: Adding a glow effect to a 3D title forces the title to be rasterized. When a title is rasterized, it’s converted to a bitmap image. Add a drop shadow effect to a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Text inspector, select the checkbox to the left of the Drop Shadow heading (near the bottom of the inspector). The checkbox is highlighted blue, and a default drop shadow is applied to the title. 3. Double-click the Drop Shadow heading to display parameter controls, then adjust Color, Opacity, and other settings to customize the drop shadow effect. Final Cut Pro User Guide 338 Add effects Intro to effects in Final Cut Pro You can easily add special effects to video, audio, and photos in your projects. Final Cut Pro provides several kinds of effects and controls: • Transitions: Add an effect between clips to control how they change from one to the next. See Intro to transitions. • Effects: Add a wide variety of effects to your video and audio clips, from subtle (add film grain or a color effect to the video, or a graphic equalizer to the audio) to not so subtle (add droplet ripples or an insect-eye view to the video, or apply an exaggerated pitch shift to the audio). There are two main types of effects: • Built-in effects: Use these standard effects to resize, move, rotate, trim, skew, crop, or apply the Ken Burns zooming effect to a video clip. These effects are already part of each timeline clip—you just need to adjust them. See Intro to built-in effects. • Clip effects: Use these effects to correct issues in your video and audio clips or create stunning new looks or sounds. See Intro to clip effects. • Generators: Add a special element like a placeholder clip, a timecode generator, or a countdown timer, or add colors, patterns, or animated backgrounds to your project. See Intro to generators. • Onscreen controls: Customize many of your effects using onscreen controls. See Intro to onscreen controls. • Video animation: Vary effect settings as a clip plays. See Intro to video keyframing. Final Cut Pro User Guide 339 You can add effects to any clips in the timeline. After the effects have been added (or in the case of built-in effects, adjusted), you can customize them using controls in an inspector, onscreen controls in the viewer, and controls in the Video Animation and Audio Animation editors. You can also try out multiple versions of an effect using auditions. You can also open and customize most effects and generators in Motion, an Apple app designed to work with Final Cut Pro. Note: If you’re using a transition, title, effect, or generator created in Motion that uses a third-party plug-in, and that plug-in is not installed on your Final Cut Pro system, the Final Cut Pro project may be rendered incorrectly or incompletely. To verify whether this is the cause, open the template in Motion; if there are offline elements, a warning dialog appears. See Modify transitions in Motion, Modify titles in Motion, Modify effects in Motion, or Modify generators in Motion. Add and adjust transitions Intro to transitions in Final Cut Pro You can add cross dissolves and other transition effects between clips to make your program more interesting. Transitions replace one shot with another over a specified period of time; when one shot ends, another one replaces it. Three very common video transitions are fades, cross dissolves, and wipes. You can also add audio-only transitions. These transitions can be either a fade-in, a fadeout, or a crossfade. See Fade audio in and out. Note: When a transition is added to a video clip with attached audio, a crossfade transition is automatically applied to the audio. If the audio is detached or expanded from the video, the crossfade is not added. How transitions are created in Final Cut Pro Transitions require overlapping video from the clips on each side of the edit point. A one-second transition requires one second of video from the end of the left clip and one second of video from the start of the right clip. When you apply a transition to an edit point, Final Cut Pro attempts to use additional video from each of the clips to create the overlap. These additional (unused) sections of clips are called media handles. Final Cut Pro User Guide 340 The example below shows range selections in a clip in the browser, and the portions of the clip that will become media handles when the range selections are edited into the timeline. The media handle video may not be appropriate for use in a transition. For example, if the media handle includes unusable video such as a slate, it will be visible in the project. The illustration below shows how transitions are created when the clips on either side of the edit point have media handles. The transition is placed so that it spans the clips; half of the transition overlaps each clip. Unused media from the end of each clip is added to fill out the transition, and the total duration of your project is unchanged. If one or both of the clips do not have enough extra content (media handles) to support a transition of the default duration, you’re given the option to overlap media in your project to create the transition. If you choose to overlap media, Final Cut Pro uses the available media handles and then overlaps media as necessary to create the transition. The illustration below shows a transition created without media handles. The two clips are made to overlap, and the transition is placed over the overlapping region. This is effectively a ripple edit, and the total duration of your project decreases. Final Cut Pro User Guide 341 This same option is available for audio crossfades. See Create an audio crossfade using the Modify menu. To learn how to set the default duration for transitions, see Set the default transition. Add transitions in Final Cut Pro There are several methods you can use to add transitions to edit points in your project. After a transition is added, you can adjust its parameters. You can also modify the transition effect in Motion. You can add audio-only transitions. These transitions can be either a fade-in, a fade-out, or a crossfade. See Fade audio in and out. Add the default transition 1. Click the Tools pop-up menu (shown below) at the top of the Final Cut Pro timeline, choose the Select tool, then click the edge of a clip (an edit point) in the timeline. One or both clip edges are highlighted. Note: If you select a whole clip in the timeline instead of just an edit point, transitions are added at each end of the selected clip. 2. Choose Edit > Add [transition name] (or press Command-T). The name of the menu item changes depending on the current default transition setting. The default transition is applied to the selected edit point. To change the default transition, see Set the default transition. Final Cut Pro User Guide 342 Final Cut Pro creates a cross dissolve transition at an edit point using media handles. If the video clip has attached audio, a crossfade transition is applied to the audio. Add or change a transition using the Transitions browser 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline (or press Control-Command-5). 2. In the Transitions browser, select a transition. Move the pointer over the transition thumbnails to see an example of what the transition looks like. To filter the list of transition names that appear, type text in the search field. Note: If you don’t see the transition you’re looking for, you can use the Filter pop-up menu at the top of the Transitions browser to check for it in other locations. See Filter Motion content stored in a library. 3. Do one of the following: • Apply the transition to an edit point: Drag the transition to the edit point. • Replace an existing transition in your project: Drag the transition on top of the existing transition. Tip: Alternatively, you can select the edit point first, then double-click a transition in the Transitions browser to apply the transition. Final Cut Pro creates the transition at the edit point using media handles. If the video clip has attached audio, a crossfade transition is applied to the audio. Tip: To quickly create a “fade up from black” effect at the beginning of a clip or a “fade to black” effect at the end of a clip, apply the default Cross Dissolve effect to a single clip in the timeline (with no contiguous clips). For more precise control over fade effects, see Intro to video keyframing. Copy a transition to other edit points using the Edit menu 1. Select a transition in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Using the Select tool, click the edge of a clip (an edit point) in the timeline, then choose Edit > Paste (or press Command-V). If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Final Cut Pro User Guide 343 Copy a transition to other edit points by dragging • Select a transition in the Final Cut Pro timeline, then hold down the Option key and drag the transition to another edit point. If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Note: If you extend a clip to its maximum length in either direction, the clip edge turns red. You may need to trim (shorten) the clip to create the media handle necessary to create a transition. See How transitions are created. Set the default transition in Final Cut Pro You can set a default transition and apply it to your clips quickly using the Command-T keyboard shortcut. Final Cut Pro comes with the default transition set to Cross Dissolve, but you can change the default to any transition. You can also set the default duration for transitions. Set the default transition 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline. 2. In the Transitions browser, Control-click a transition, then choose Make Default. Set the default duration You set the default duration for transitions in Final Cut Pro preferences. 1. In Final Cut Pro, choose Final Cut Pro > Preferences, or press Command-Comma (,), then click Editing. 2. Use the “Duration is x seconds” value slider to set the duration, in seconds, of all transitions you add to the timeline. You can adjust the duration of a transition after it’s in the timeline. Note: Some transitions have a fixed duration and are not affected by this setting. Delete transitions in Final Cut Pro You can easily delete a transition, restoring the edit point to a simple cut. 1. Select one or more transitions in the Final Cut Pro timeline. 2. Press Delete. The selected transitions are removed, and their edit points are converted to simple cuts. You can also choose Edit > Undo to remove the transition and return the clips to their original length. Final Cut Pro User Guide 344 Adjust transitions in the Final Cut Pro timeline You can adjust a transition’s duration and move it in the timeline. You can also trim either of the clips under the transition. Note: If you extend a clip to its maximum length in either direction, the clip edge turns red. You may need to trim (shorten) the clip to create the media handle necessary to create a transition. See How transitions are created. Change the transition duration 1. Select a transition in the Final Cut Pro timeline. 2. Do one of the following: • Choose Modify > Change Duration (or press Control-D), type the duration (it appears below the viewer), then press Return. • Drag one end of the transition away from the transition’s center to lengthen it, or toward the center to shorten it. The transition maintains its center point and both ends are trimmed equally, with the number showing how many frames have been added to or subtracted from the transition duration. Move a transition Moving a transition actually rolls the edit under the transition, adding content to one underlying clip while removing content from the other clip. The overall duration of the project is not affected. You can move a transition only if the clip that is being extended has sufficient media handles. Final Cut Pro User Guide 345 1. Select a transition in the Final Cut Pro timeline. 2. Drag the transition trim icon in the upper-center area of the transition. The edit under the transition is rolled, with one clip being extended and the other shortened. A number appears above the trim icon showing the number of frames to the left (negative numbers) or to the right (positive numbers) you have rolled the transition. You can also use the precision editor to roll the transition. Trim a clip under a transition The transition includes icons that make it easy to trim the left or right clip without affecting the transition. 1. Select a transition in the Final Cut Pro timeline. 2. Drag one of the trim icons in the upper-left or upper-right area of the transition. Note: You may need to zoom in on the timeline to make the trim icons appear. Dragging the trim icon in the upper left adjusts the right clip’s start point, and dragging the trim icon in the upper right adjusts the left clip’s end point. A number appears showing how many frames you have added to (negative numbers) or subtracted from (positive numbers) the clip’s duration. Trimming the clip doesn’t affect the transition’s duration, but it does affect the project’s duration. You can also use the precision editor to trim the clips under the transition. Final Cut Pro User Guide 346 Adjust transitions in the Final Cut Pro inspector and viewer You can adjust a transition using the controls in the Transition inspector and viewer. 1. In the Final Cut Pro timeline, select the transition to adjust. This example explains how to modify the Circle transition, but you can modify any transition. The viewer shows the onscreen controls for the selected transition. In the above example, which uses the Circle transition, you can drag the white circle in the viewer to position the circle wipe’s center, and the diamond-shaped handle to set the border width (in this case, its softness). 2. If the inspector is not already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. The Transition inspector shows the other parameters available for you to adjust. In the above example, the Transition inspector includes a setting for the circle wipe’s aspect ratio and edge treatment (including the border color if you choose a hard edge). Some transitions also have an image well for selecting a video frame that appears as part of the transition. Additionally, many transitions have parameters that you can animate using keyframes. For example, you could have the circle effect move across the video frame as the clip plays. For information about adjusting audio crossfades in the Transition inspector, see Fade audio in and out. Final Cut Pro User Guide 347 Merge jump cuts with the Flow transition in Final Cut Pro The Flow transition seamlessly merges jump cuts to remove pauses or mistakes in oncamera interviews. 1. In Final Cut Pro, open the Transitions browser, then select the Dissolves category on the left. 2. Drag the Flow transition to the edit point of a jump cut. Alternatively, you can select the edit point first, then double-click the Flow transition in the Transitions browser to apply it to the edit point. Keep the following in mind when using the Flow transition: • Use the Flow transition with the default duration only. Any other duration will generate unexpected results. • The Flow transition duration is always set at 6 frames regardless of the duration set in the Editing pane of Final Cut Pro preferences. • The Flow transition is disabled (treated as a standard dissolve) when you apply it to a generator. Adjust transitions with multiple images in Final Cut Pro Several transitions include areas that are filled with still images from the clips on either side of the transition. The example below shows the Pan Far Right transition (one of the Bulletin Board transitions). Final Cut Pro User Guide 348 The areas are numbered and correlate to numbered points (handles) in the timeline. 1. Select a transition with numbered points in the Final Cut Pro timeline. 2. Position the playhead at the center of the transition so that numbered handles appear in the timeline and the corresponding numbers appear in the viewer, as shown above. Note: You may need to adjust the zoom level in the timeline. To fit all the clips in the visible part of the timeline, choose View > Zoom to Fit (or press Shift–Z). 3. Drag any of the numbered handles in the timeline to select the frame to fill the corresponding area in the viewer. As you drag the handle in the timeline, the corresponding area in the viewer updates to show the new image. 4. Continue until you’ve selected images for all of the areas. Modify Final Cut Pro transitions in Motion Many of the transitions in Final Cut Pro were created using Motion, an Apple app designed to work with Final Cut Pro. You can open these transitions in Motion, make modifications, and save the changes as a new transition that appears in the Transitions browser. Important: To modify a transition in Motion, you must have Motion 5 installed on your computer. 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline. 2. In the Transitions browser, Control-click the transition you want to modify, then choose “Open a copy in Motion.” Motion opens, and the transition’s project appears. 3. Modify the transition project. See the Motion User Guide. 4. Choose File > Save As (or press Shift-Command-S), enter a name for the new transition (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the transition is saved using the same name, with “copy” appended to its end. Final Cut Pro User Guide 349 Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Adjust built-in effects Intro to built-in effects in Final Cut Pro Final Cut Pro includes several video effects that are part of each timeline clip and directly accessible from the viewer—all you need to do is select the effects and start making adjustments. You can use built-in effects to: • Create a composited image from several clips • Reposition or reframe a clip by zooming in on it • Crop a clip to remove unwanted items, such as microphones or lighting equipment, that accidentally appear in the video • Create a Ken Burns effect to add life to your still images (and video clips as well) You can use more than one of the built-in effects at the same time. For example, you can use Transform to reduce the image’s size and position, Trim to remove a portion of the video, and Distort to give the video a skewed look. You can animate any of these effects so that they change as the clip plays. For example, you can have an image shrink and move offscreen. To configure an animation, you change settings at two or more points in the clip. When you play the clip, Final Cut Pro creates smooth animated transitions between the points. You can save any combination of effects and their parameter settings as an effects preset, which appears in the Effects browser and functions like any clip effect. See Save video effects presets and Save audio effects presets. Resize, move, and rotate clips in Final Cut Pro You can resize, move, and rotate an image using the Transform built-in effect. This effect is commonly used on a clip placed over a primary storyline clip, which becomes the background of the resized clip. It’s also often used to zoom in on a clip, allowing you to reframe a shot if needed. You can adjust the Transform effect using controls in the viewer and Video inspector. However, some controls are found only in one or the other. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 350 3. To access the Transform controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). • Control-click in the viewer and choose Transform. The Transform onscreen controls appear in the viewer. 4. Adjust the Transform effect using the onscreen controls: • Overscan button in the upper-right corner of the viewer: Click to reveal the overscan areas (areas of a clip that extend beyond the edges of the viewer). • Blue handles at each corner: Drag these to adjust the image’s size while maintaining its current aspect ratio. • Blue handles in the middle of each side: Drag these to independently adjust the vertical and horizontal image size, changing the aspect ratio of the image. Note: These controls aren’t available in the Video inspector. • White circle in the center: Shows the rotation anchor point. Drag anywhere inside the image to adjust the image’s position. • Blue handle extending from the center circle: Drag this to rotate the image. Tip: For finer precision when rotating the image, drag the rotation handle farther away from the anchor point in the center. Final Cut Pro User Guide 351 5. Use the Transform controls in the Video inspector as follows: • Position X and Y: Move the image left and right (X) and up and down (Y). • Rotation: Rotate the image around its anchor point. • Scale: Change the image’s size. Note: When you increase the video image size with the Scale parameter, some peripheral areas of the image may fall outside of the boundary of the visible program. Click the Overscan button at the top of the viewer to reveal areas outside of the viewer frame. • Anchor X and Y: Move the image’s center point (the point that the image rotates around). Note: This control isn’t available in the onscreen controls. 6. When you’re finished adjusting the effect, click Done (in the upper-right corner of the viewer). You can animate the Transform effect and have it appear over a background. See Work with built-in effects. Adjust framing with Smart Conform in Final Cut Pro You can use the Smart Conform feature to automatically reframe clips whose aspect ratio is different from the project aspect ratio. Smart Conform analyzes the contents of selected clips in a project and automatically adjusts the framing for each clip based on the specific video content, such as faces or other areas of visual interest, so these important elements are not left outside the video frame. Smart Conform is especially useful for repurposing projects created with standard widescreen or HD aspect ratios, such as those for film or TV, to make versions in different aspect ratios for social media. See Create square or vertical versions of a project. 1. In Final Cut Pro, create a new project or open an existing project. 2. In the timeline, select one or more clips whose aspect ratio does not match the project aspect ratio. For example, you might have a horizontal or widescreen clip from an HD project that you want to use in a vertical project for a social media app or website. 3. Choose Modify > Smart Conform. Final Cut Pro User Guide 352 Final Cut Pro analyzes the content of the selected clips and then intelligently reframes each clip. The examples below show the default “center crop” framing for a horizontal clip in a vertical project, and then how the same clip is reframed using Smart Conform. After the Smart Conform process is complete, you can make additional framing adjustments by changing the Position parameter for the Transform effect. See Resize, move, and rotate clips in Final Cut Pro. Trim the edges of the video frame in Final Cut Pro Trim controls allow you to independently trim each of the image edges, creating a window look. This effect, often used along with the Transform effect, is commonly used on a clip placed over a primary storyline clip, which becomes the background of the trimmed clip. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 353 3. To access the Trim controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Trim button at the bottom of the viewer. 5. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of two trim window sides at the same time. • Blue handles in the middle of each side: Drag these to independently adjust the position of each side. • Anywhere inside the window: Drag anywhere inside the window to adjust its position. You can also adjust each edge of the image individually using the Left, Right, Top, and Bottom parameters in the Crop section of the Video inspector. 6. When you’re finished adjusting the effect, click Done. You can animate the effect and have it appear over a background. See Work with built-in effects. Final Cut Pro User Guide 354 Crop clips in Final Cut Pro The Crop effect makes it easy to remove unwanted areas of the image. The cropped image automatically expands to fill the screen. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Crop controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Crop button at the bottom of the viewer. 5. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag a corner handle to adjust the crop of that corner. The cropped image always maintains the original aspect ratio. • Anywhere inside the window: Drag anywhere inside the crop window to adjust its position. Final Cut Pro User Guide 355 You can also adjust each edge of the image individually using the Left, Right, Top, and Bottom parameters in the Crop section of the Video inspector. Note: Although you can use these controls to change the crop window’s aspect ratio, the final image still matches the original image’s aspect ratio, with additional content being cropped out so that the final image fits the original aspect ratio. 6. To apply the crop and have the cropped image fill the screen, click Done. You can animate the effect, creating the illusion of a pan and zoom camera move (effectively, a manual Ken Burns effect). See Work with built-in effects. Pan and zoom clips in Final Cut Pro The Ken Burns effect creates a pan and zoom effect using the start and end positions you define. The Ken Burns effect is actually a Crop effect with two crop settings, one at the clip start and another at its end. You can further customize the Ken Burns effect by controlling the smoothness of the animation. The motion applied to a clip when you create a Ken Burns effect is automatically smoothed so that the movement accelerates slowly as the animation starts, and decelerates slowly as the clip comes to rest at the end of the animation. This simulates the effects of friction and inertia that occur in the real world. In visual effects software, this trick is commonly called ease out and ease in. By default, a Ken Burns animation performs both of these smoothing operations (Ease Out and Ease In), but you can customize the effect to limit the result to just easing out, just easing in, or making a linear movement with no simulated inertia or friction. Adjust the Ken Burns effect 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 356 3. To access the Ken Burns controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Ken Burns button at the bottom of the viewer. Two rectangles appear in the viewer: a green one that defines the position and size for the start of the clip and a red one that defines the position and size for the end of the clip. The default start and end settings result in a small zoom to the center of the image. 5. To choose the part of the image that appears at the start of the effect, drag the green handles to change the crop size of the image, and drag the window to set its position. 6. To choose the part of the image that appears at the end of the effect, drag the red handles to change the crop size of the image, and drag the window to set its position. A superimposed arrow shows the direction the image travels when the clip is played. 7. To have the clip with the effect play in a loop, click the Play Loop button. 8. To exchange the start and end positions, click the Swap button. 9. Click Done. Final Cut Pro User Guide 357 Customize the smoothness of a Ken Burns animation By default, a Ken Burns animation performs both smoothing operations (Ease Out and Ease In), but you can customize the effect. 1. In the Final Cut Pro timeline, select a clip with the Ken Burns effect enabled. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Ken Burns controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Ken Burns button at the bottom of the viewer. Two rectangles appear in the viewer: a green one that defines the position and size for the start of the clip and a red one that defines the position and size for the end of the clip. 5. In the viewer, Control-click anywhere in the image and choose an option: • Ease In and Out: Applies the easing effect to the beginning and the end of the animation. • Ease In: Limits the easing effect to the end of the animation. • Ease Out: Limits the easing effect to the beginning of the animation. • Linear: Removes all easing effects. Tip: Use the Crop effect and intermediate keyframes to create a Ken Burns–style effect that follows a more complicated path. For details on working with built-in effects, see Work with built-in effects. Final Cut Pro User Guide 358 Skew a clip’s perspective in Final Cut Pro You can use the Distort effect to skew or otherwise distort the image. The Distort effect allows you to create a skewed look or add a 3D perspective to the image by dragging each corner and edge of the video frame independently of the others. Note: The Distort effect can change and animate the shape of the video, but it does not affect the position. To animate the video so that it moves to a different position, use the Transform effect. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Distort controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Distort (or press Option-D). • Control-click in the viewer and choose Distort. 4. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of each corner, adding a 3D perspective to the image by making parts of it appear closer to you than other parts. • Blue handles in the middle of each side: Drag these to adjust the position of each side. You can create a skewed look by dragging them in the same direction as their edge (as opposed to toward or away from the center). • Anywhere inside the window: Drag anywhere inside the window to adjust its position. Final Cut Pro User Guide 359 Note: You can also use the Distort controls in the Video inspector to individually adjust each corner. 5. When you’re finished adjusting the effect, click Done. You can animate the effect and have it appear over a background. See Work with built-in effects. Work with built-in effects in Final Cut Pro Following are ways you can work with built-in effects. Turn off or reset a built-in effect on a single clip 1. In the Final Cut Pro timeline, select the clip with the enabled built-in effect. 2. Do one of the following: • Turn off the effect and retain its settings: In the Video inspector, click the blue checkbox next to the effect used (Transform, Crop, or Distort). You can click the checkbox again to turn the effect back on, making it easy to compare how the clip looks with and without the effect. • Return all values for the effect to their default state: Click the Reset button . Final Cut Pro User Guide 360 • Turn off the effect in the Video Animation editor: Open the Video Animation editor by choosing Clip > Show Video Animation (or pressing Control-V), then click the checkbox next to the effect you want to turn off. Animate built-in effects When you animate a built-in effect, you modify the effect’s settings at two or more points in time and set keyframes at these points. When the clip plays, the video changes smoothly between the keyframes, creating an animated effect. This applies to all built-in effects except the Ken Burns effect, which has a different workflow. See Pan and zoom clips. 1. Select a clip in the Final Cut Pro timeline. 2. Click the pop-up menu in the lower-left corner of the viewer and choose the effect you want to animate. For this example, choose Transform (or press Shift-T). 3. Position the timeline playhead at the start of the clip. 4. Adjust the effect’s onscreen controls to set the start position. See Onscreen control examples. In the example shown below, the scale of the video frame was reduced by dragging a corner handle. Final Cut Pro User Guide 361 5. Click the Add Keyframe button in the upper part of the viewer. 6. Move the playhead to the end of the clip. 7. Adjust the effect’s controls to set the end position. In the example shown below, the position of the video frame was moved by dragging the center circle down and to the right. A keyframe is automatically added and appears as a white handle on the red motion path line. Additionally, for Transform effects, a line showing the image’s path appears. See Resize, move, and rotate clips. 8. To finish, click Done in the upper-right corner of the viewer. When you play the clip, the video moves smoothly between the keyframes, creating an animated effect. You can add multiple keyframes by moving the playhead to a new position and changing the effect’s controls. See Intro to video keyframing. Final Cut Pro User Guide 362 Smooth position keyframes If you animated the position of a clip using the Transform effect, you can modify the shape of the clip’s path in the viewer by setting individual keyframes to be smooth. This adds a set of Bezier handles that allow you to create intricate, complex shapes and provide more control over the way your clips move. You can remove the curves and the handles used to create them by setting a keyframe to be linear. 1. In the Final Cut Pro timeline, select the clip that has position keyframes applied. To learn how to add keyframes to a clip, see Animate built-in effects, above. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Transform controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). • Control-click in the viewer and choose Transform. 4. In the viewer, Control-click any individual handle and choose an option: • Convert the keyframe to a smooth keyframe: Choose Smooth. Bezier handles appear, and you can drag the handles to control the curved shape of the path. • Convert the keyframe to a corner point: Choose Linear. Bezier handles are removed from the keyframe, and the keyframe becomes a corner point. Final Cut Pro User Guide 363 Adjust the Transform effect animation path Transform animations have additional keyframe controls you can use to fine-tune the animation path. To show these, you first need to create a simple three-corner effect. 1. Select a clip in the Final Cut Pro timeline and put the playhead at its start. 2. Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T), then drag the onscreen controls to reduce the image’s size and place it in the upper-left corner. 3. Click the Add Keyframe button. 4. Move the timeline playhead to the middle of the clip. 5. Use the Transform onscreen controls to move the image to the upper-right corner. A keyframe is automatically added, and a red line appears showing the animation’s path so far. 6. Move the timeline playhead to the end of the clip. 7. Use the Transform onscreen controls to move the image to the bottom center. A keyframe is automatically added, and the red line extends to this new point. 8. To jump between the keyframes, click the white squares along the red line. The first and last keyframes have white arrows. By default, the red line indicates a smooth path (indicated by how it curves). Final Cut Pro User Guide 364 9. To control the curve of the path, click the starting or middle keyframe and drag the curve handles. 10. Control-click a keyframe and choose an option: • Linear: Use for direct, noncurved paths in and out of that keyframe. • Smooth: Use for curved paths in and out of that keyframe, providing a more natural movement. • Delete Point: Use to delete that keyframe. • Lock Point: Use to prevent that keyframe from being adjusted. It changes to Unlock Point once set. • Disable Point: Use to ignore that keyframe, but keep the keyframe in place in case you want to use it later. It changes to Enable Point once set. Composite effects over a background Often, Transform, Trim, and Distort effects result in the image being less than full size, with the empty areas filled with black. You can replace the black with a background by placing the transformed clip over a background clip (also known as compositing). Final Cut Pro User Guide 365 In Final Cut Pro, do one of the following: • Add a clip to the timeline as a connected clip, then add the effect to that clip. This places the clip above the primary storyline clip, which automatically becomes the effect’s background. • If the clip is already in the primary storyline, drag it above the primary storyline, positioning it over the clip you want to be the background. The result is a composited image. For more information about working with connected clips, see Add storylines. For more information about compositing clips, see Intro to compositing. Final Cut Pro User Guide 366 Remove built-in effects in Final Cut Pro You can remove built-in effects from clips, either individually or all at once. Remove selected built-in effects from one or more clips You can remove selected effects and attributes from multiple timeline clips at once. 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window appears, with the clip’s current effects and attributes selected. 3. Deselect the checkboxes for the effects or attributes you want to retain, and select the checkboxes for the effects or attributes you want to remove. 4. Click Remove. Selected built-in effects are reset to their default values. Selected clip effects are removed from the clips entirely. Remove all effects from one or more clips You can remove or reset all effects and attributes on multiple timeline clips at once. 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All built-in effects on the selected clips are reset to their default values. All clip effects are removed from the selected clips entirely. Final Cut Pro User Guide 367 Add and adjust clip effects Intro to clip effects in Final Cut Pro In addition to the built-in effects, Final Cut Pro includes a wide variety of video effects that you can apply to your project’s video clips. Many of the effects modify the look of your video, from adding a blur or glow to severe distortions. Some effects overlay camcorder or timecode graphics. There are also effects for keying one video clip over another and for creating areas of transparency in a clip (masking). After you have added an effect, you can adjust its settings. Some effects have few adjustments, while others provide a comprehensive set, allowing you a lot of control over how the effects look. Effects can even be animated, with their settings changing as the clip plays. You can save any combination of effects and their settings as an effects preset, which appears in the Effects browser and functions like any clip effect. See Save video effects presets and Save audio effects presets. You can also use effect masking controls available in most video clip effects to limit the area of the video frame that is affected by a video effect or color correction. Additionally, many video effects can be opened and changed in Motion, allowing you to create specialized versions for use in your projects. See Modify effects in Motion. Final Cut Pro also includes a broad range of audio effects that you can apply to your project’s audio clips. Many of the effects modify the sound of your audio, from subtle echoes to severe pitch distortions. See Add audio effects. Add video effects in Final Cut Pro You add video effects to clips in your project using the Effects browser. 1. Select a clip in the Final Cut Pro timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, select an effect. You can do any of the following to help make your selection: • Filter the list of effects that appear: Type text in the Effects browser search field to search for an effect by name. You can also click to select individual effects categories, such as Blur or Color. • Preview the effect: Skim the video effect thumbnail. Final Cut Pro User Guide 368 • Preview changing the effect’s primary control: Hold down the Option key as you skim the video effect thumbnail. As you skim left and right, the video thumbnail shows a still-frame preview of the effect of dragging the slider for the effect’s primary control. For example, the primary control for the Radial effect is the Amount parameter. Note: If you don’t see the effect you’re looking for, you can use the Filter pop-up menu at the top of the Effects browser to check for it in other locations. See Filter Motion content stored in a library. 3. Do one of the following: • Drag the effect to the timeline clip you want to apply it to. • Double-click the effect thumbnail to apply it to the selected clip. You can now adjust the effect. Add the default video effect in Final Cut Pro You can set a default video effect and quickly add it to your project clips using the Option-E keyboard shortcut or a menu command. Final Cut Pro comes with the default video effect set to the Color Board color correction effect, but you can change the default effect to any video effect in the Effects browser, including custom video effects presets. You can also set a default color correction effect, which appears whenever you open the Color inspector for a clip that has no color correction applied. Add the default video effect to project clips 1. Select one or more video clips in the Final Cut Pro timeline. 2. Choose Edit > Add [effect name] (or press Option-E). The name of the menu item changes depending on the current default video effect setting. Set the default video effect 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. Control-click a video effect or a video effects preset, then choose Make Default Video Effect. Final Cut Pro User Guide 369 Set the default color correction effect 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. Click General. 3. Click the Color Correction pop-up menu and choose one of the following effects: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves The controls for the effect you choose appear by default whenever you open the Color inspector for a clip that has no color correction applied. Important: When you set the default video effect to any of the four color correction effects, the default video effect menu command (Edit > Add [effect name]) and keyboard shortcut (Option-E) always apply the default color correction effect defined in Final Cut Pro preferences. If the default video effect command doesn’t apply the color correction effect you expect, make sure the effect you want to apply is chosen from the Color Correction pop-up menu in General preferences. Adjust effects in Final Cut Pro Most effects have one or more parameters that you can adjust using the Video or Audio inspector, the viewer, or the Video Animation or Audio Animation editor. You can also control how the effect is applied to the clip—whether the parameter values are fixed for the duration of the clip or change over time. Adjust an effect in the inspector and viewer 1. In the Final Cut Pro timeline, select the clip with the effect you want to adjust. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Locate the effect in the Video inspector or Audio inspector. Final Cut Pro User Guide 370 The example above shows several settings for the Censor effect. Many effects also have adjustments that appear in the viewer, known as onscreen controls. Tip: For audio effects, you can click the Controls button (to the right of the effect’s name) to show a custom control window. 4. Select the effect, then adjust its settings as needed. To return the effect’s values to their default settings, click the effect’s Reset button . Adjust an effect in the Video Animation editor Many effect parameters can be adjusted in the Video Animation editor. Additionally, you can set these parameters to change over time, allowing you to change the appearance of the effect. 1. In the Final Cut Pro timeline, select the clip with the video effect you want to adjust. 2. Choose Clip > Show Video Animation (or press Control-V). The effect appears as one of the animations in the Video Animation editor above the clip in the timeline. You can click the effect’s checkbox to turn the effect off and on. Effects that have more than one adjustable parameter also have a pop-up menu for choosing the parameter to show and adjust. 3. To show an expanded parameter, choose a specific parameter from the effect’s pop-up menu (if present), then double-click the parameter. This applies only to effects that have a single value. An icon appears to the right of the effect if the parameter can be expanded. Final Cut Pro User Guide 371 4. To have the effect parameter fade in and out of the clip, drag the fade handles on either end of the effect. You can also drag the horizontal line up and down to set the maximum value of the selected parameter (Size, in the example below). Any keyframes you add also appear. Show the audio effects applied to a clip 1. In the Final Cut Pro timeline, select the clip with the audio effects you want to show. 2. Choose Clip > Show Audio Animation (or press Control-A). Each audio effect applied to the clip appears as an animation in the Audio Animation editor. You can click the effect’s checkbox to turn the effect off and on. Use masks to define the shape of a video effect Intro to effect masking in Final Cut Pro Using the masking tools built into most clip effects in Final Cut Pro, you can isolate and control which areas of the video image are affected by clip effects, including color corrections. These isolated areas are called masks. There are two types of masks: • Shape masks: The area of a shape mask is defined by its outline, and can be a regular shape (such as a circle or rectangle) or an irregular shape that you draw. See Add a shape mask to a video effect. • Color masks: The area of a color mask is defined by a specific color range, so only areas in your clip that contain colors within the color range are part of the mask. See Add a color mask to a video effect. You can apply a color mask and any number of shape masks to a clip effect, and you can have multiple masks interact in different ways within an effect. Final Cut Pro User Guide 372 You can animate any effect mask in Final Cut Pro, just as you can animate most effect parameters. For information about using traditional masking tools to create areas of transparency in an image, see Intro to masking. Note: Clip effects in the Keying and Masks categories in the Effects browser do not have the built-in effect masking tools described in this section. Add a shape mask to a video effect in Final Cut Pro You can define the area of a video effect, including a color correction, using the powerful shape-masking tool. In the example below, you can apply an effect (such as Gaussian) to everything outside or inside the mask shape that you define. You can add multiple masks to define multiple areas, and you can also animate the shapes so that they follow a moving object, or follow an area while a camera pans. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add an effect to the timeline clip from the Effects browser. Note: This includes the color correction effects, which you can apply from the Color category of the Effects browser or from the Color inspector. See Add color corrections. Final Cut Pro User Guide 373 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, move the pointer over the effect name and click the Apply Effect Masks button . 7. Click the pop-up menu that appears and choose Add Shape Mask. The onscreen controls appear in the viewer, superimposed over the video image. By default, the shape mask is set to a partially feathered circle in the center of the frame. The Shape Mask parameter appears in the effect’s section of the Video inspector. Final Cut Pro User Guide 374 8. Use the onscreen controls to adjust the mask shape. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. • Control the roundness of the shape: Drag the handle to the left of the inner circle’s top handle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt visual transition to the effects you apply, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. To show or hide the mask’s controls, click the Shape Mask Onscreen Controls button to the right of the shape mask name in the mask list. For more information about onscreen controls for shape masks, see Create simple shape masks. Note: At any time, you can view the mask alpha channel by clicking View Masks (next to the effect name). The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. See Add a color mask to a video effect and Combine multiple effect masks. Final Cut Pro User Guide 375 Add a color mask to a video effect in Final Cut Pro You can create a color mask to apply a video effect, including a color correction, to a particular color in an image, or to exclude a color from the effect. For example, you could use a color mask to mute a bright color in the background that distracts attention from a shot’s main subject. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add an effect to the timeline clip from the Effects browser. Note: This includes the color correction effects, which you can apply from the Color category of the Effects browser or from the Color inspector. See Add color corrections. 4. To open the Video inspector, choose Window > Show in Workspace > Inspector (or press Command-4). 5. In the Effects section of the Video inspector, move the pointer over the effect name and click the Apply Effect Masks button . 6. Click the pop-up menu that appears and choose Add Color Mask. The Color Mask parameter appears in the same section of the Video inspector, and the pointer changes to the eyedropper tool. 7. In the viewer, position the eyedropper on a color in the image that you want to isolate, then drag to select the color. Final Cut Pro User Guide 376 As you drag, two concentric circles appear. The size of the outer circle determines the range of color that is included in the color mask. As you change the outer circle size, the image becomes monochrome except for the color you’re selecting. You can drag a new selection circle as many times as you like to try for better results. Note: When you stop dragging, the effect is applied to the area you selected. If you applied a color correction, you’ll see the effects of the color mask as soon as you start making adjustments in the Color Board. You can then return to the Video inspector and use the eyedropper to make any adjustments to the color mask. 8. To change the range of color included in the mask, do any of the following: • Add color shades: Hold down the Shift key, position the eyedropper on a color you want to add to the mask, and drag to select the color. • Subtract color shades: Hold down the Option key, position the eyedropper on a color you want to remove from the mask, and drag to select the color. 9. To adjust the color mask edges, drag the Softness slider. Tip: To view the mask alpha channel while adjusting the Softness slider, hold down the Command key. 10. Do one of the following: • View the mask’s alpha channel: Click the View Masks pop-up menu and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. • View the colors inside the mask: Click the View Masks pop-up menu and choose Color. The colors inside the mask appear in the viewer. Gray indicates areas outside the mask. Whether you’re viewing the mask alpha channel or the colors inside the mask, you can quickly return to the adjusted image by clicking View Masks. Final Cut Pro User Guide 377 Combine multiple effect masks in Final Cut Pro When defining the area of a clip effect, including a color correction, you may find that it’s impossible to create the mask shape you need using only one mask. For example, when masking a shape with a hole in it, you need at least two masks—one set to Add to mask the overall object, and a second set to Subtract to cut out the hole. You can set masks to interact in different ways using mask blend modes. For example, you can add mask shapes together to create a combined mask, subtract a mask shape from other masks, and intersect masks. Note: You can add an unlimited number of effects to a clip, but mask blend modes interact within a single effect—not across multiple effects. Add, subtract, and intersect masks 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add a video effect to the clip from the Effects browser. You can add almost any kind of video clip effect, including the Color Correction effect. However, effects in the Keying and Masks categories in the Effects browser do not have the built-in effect masking tools described here. 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, add a shape mask or a color mask to the effect. 7. To add an additional mask to the effect, move the pointer over the effect name in the Video inspector and click the Apply Effect Masks button that appears to the right of the effect name. The new mask appears below the effect name in the Video inspector, with the blend mode to the right. By default, new shape masks appear at the top of the list in Add mode, and new color masks appear at the bottom of the list in Intersect mode. Note: You can rearrange the order of the masks within a given effect. See Reorder masks, below. 8. To change how a mask interacts with other masks applied to the effect, click the pop-up menu next to the mask name and choose a blend mode: Final Cut Pro User Guide 378 • Add: Applies the effect to the area inside the mask shape selection. If two or more masks are set to Add, the masks are merged. • Subtract: Removes the effect from the area inside the mask shape, including areas that overlap with other masks. Final Cut Pro User Guide 379 • Intersect: Applies the effect to any area inside the mask shape that overlaps with other masks set to either Add or Intersect. Note: At any time, you can invert all masks for a given effect. See Invert effect masks. Reorder masks The order in which you apply shape and color masks can affect the final output. The Add, Subtract, and Intersect modes operate sequentially, starting at the top of the mask list in the Video inspector. By default, new shape masks appear at the top of the list in Add mode, and new color masks appear at the bottom of the list in Intersect mode. You can reorder masks to achieve the effect you want. 1. To apply two or more masks to an effect in Final Cut Pro, follow steps 1 through 6 in Add, subtract, and intersect masks, above. The masks are listed below the effect name in the Video inspector. 2. To change the mask order, drag masks up or down in the list. Final Cut Pro User Guide 380 For an example of how you might use shape masks set to the Intersect blend mode to isolate one area of a color mask, see Add shape masks to a color mask. Invert effect masks in Final Cut Pro In most cases, you use the built-in masking capability of a video effect, including a color correction, to limit the effect to a specific area or color. However, you can also invert your mask to exclude a specific area or color from the effect. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. Add an effect to the timeline clip from the Effects browser. 6. Apply a shape mask or a color mask to the effect. 7. To make the mask alpha channel visible, click the View Masks pop-up menu (next to the effect name) and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. Final Cut Pro User Guide 381 Note: You can also view the color contents of the mask. See Ways to view masks. 8. In the Effects section of the Video inspector, move the pointer over the effect name, click the Apply Effect Masks button , and choose Invert Masks from the menu that appears. All mask selections for the effect are inverted (the masked and unmasked areas are reversed). Animate an effect shape mask in Final Cut Pro You can use keyframes to animate an effect shape mask so that it follows the movement of an onscreen object. 1. In Final Cut Pro, add a shape mask to a video effect. 2. In the timeline, move the playhead to the frame where you want the shape to begin moving. 3. In the viewer, position the shape mask at its starting position. Final Cut Pro User Guide 382 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, click the Keyframe button for the mask you want to animate. A keyframe is added at the position of the playhead. To see the keyframe in the timeline, press Control-V to open the Video Animation editor. The keyframe appears in the effect’s section of the Video Animation editor as a diamond at the playhead position. 7. Move the playhead to the next point in the clip where you want to define the shape mask’s position, reposition the shape mask, and add the second keyframe. 8. Continue adding keyframes until you’ve defined the shape movement you want. When you’ve added all the keyframes, you can play the clip to see the shape mask move between them. For more information about working with keyframes, see Intro to video keyframing. Note: You can apply and animate multiple shape masks on a clip. You can view and edit individual shape masks in the Video Animation editor just as you would any other effect parameter. See Add video effect keyframes. Final Cut Pro User Guide 383 Change clip effect order in Final Cut Pro You can apply multiple clip effects to a timeline clip. The order in which you apply them can affect the final output. For example, if you apply the Artifacts effect—which by default adds random white circles to the video—before the Aged Paper effect, the white circles are also aged; if you apply Artifacts after Aged Paper, the circles remain white. You can easily change the order of the clip effects in the Video or Audio inspector, or in the Video Animation or Audio Animation editor. Note: You can’t change the order of the built-in effects. Change video and audio clip effect order using the Video or Audio inspector 1. Select a clip in the Final Cut Pro timeline that has multiple video or audio clip effects applied, then do one of the following: • View the video effects: Open the Video inspector. • View the audio effects: Open the Audio inspector. 2. In the Video inspector or Audio inspector, drag the clip effects to change their order. Change video and audio clip effect order using the Video Animation or Audio Animation editor 1. Select a clip in the Final Cut Pro timeline that has multiple video or audio clip effects applied, then do one of the following: • View the video effects: Choose Clip > Show Video Animation (or press Control-V). • View the audio effects: Choose Clip > Show Audio Animation (or press Control-A). Final Cut Pro User Guide 384 2. In the Video Animation editor or Audio Animation editor, drag the effects to change their order. Copy effects between clips in Final Cut Pro Final Cut Pro offers two ways to copy effects between clips: • Paste Attributes: This command lets you copy selected clip attributes to another clip and provides more control over individual effects, settings, and keyframes. For example, you can copy video crop settings, audio pan settings, or keyframe adjustments. • Paste Effects: This command copies all of a clip’s effects to another clip and is the fastest way to copy effects and attributes. You can also copy and paste individual keyframes from one parameter to another. See Copy and paste keyframes. Copy selected clip attributes to another clip 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips to which you want to apply the attributes, then choose Edit > Paste Attributes (or press Shift-Command-V). 3. Do any of the following: • Apply all video or all audio attributes from the source clip: Select the Video Attributes or Audio Attributes checkbox. Final Cut Pro User Guide 385 • Apply individual attributes: Select the checkboxes for the attributes you want to apply. 4. If you made any keyframe adjustments to the source clip, select one of the following in the Keyframe Timing section: • Maintain: Leaves the duration between keyframes unchanged. • Stretch to Fit: Adjusts the keyframes in time to match the duration of the destination clip. 5. Click Paste. Copy all of a clip’s effects to another clip 1. In the Final Cut Pro timeline, select the clip you want to copy the effects from, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips to which you want to apply the effects, then choose Edit > Paste Effects (or press Option-Command-V). All the source clip’s effects and their settings are applied to the destination clip. For more control over individual attributes, follow the instructions in Copy selected clip attributes to another clip, above. Save video effects presets in Final Cut Pro You can save any combination of video effects and video effect parameter settings as a video effects preset, which appears in the Effects browser and functions like any other video effect. You can create an effects preset from any combination of built-in effects and clip effects. After you create an effects preset, you can share it with friends and colleagues so that the same preset (with its specific combination of effects and parameter settings) is available in their Effects browser. Final Cut Pro User Guide 386 Save a video effects preset 1. Apply any combination of built-in effects and clip effects to a clip in the Final Cut Pro timeline, and make any needed adjustments to the effects. See Add video effects. 2. Select the clip in the timeline. 3. Do one of the following: • Choose File > Save Video Effects Preset. • Open the Video inspector, then click Save Effects Preset at the bottom of the inspector. The Save Video Effects Preset window appears, with any applied or adjusted effects selected in the Attributes list. 4. Enter a name for the new preset in the Name field. 5. Click the Category pop-up menu and choose an Effects browser category in which to store the new preset. 6. In the Attributes list, select the video effects you want to include in the preset. 7. If you made any keyframe adjustments to the source clip, select either Maintain Timing or Stretch to Fit. If you select Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of any clip to which you apply the preset. 8. Click Save. The new video effects preset appears in the Effects browser category you chose, ready to be applied to clips in the timeline. To apply the preset to a clip, see Add video effects. Final Cut Pro User Guide 387 Share a video effects preset 1. In the Final Cut Pro Effects browser, Control-click the effects preset you want to share, then choose Reveal in Finder. 2. In the Finder, select the effects preset file and choose File > Compress. Note: Compressing the file prevents any change to the preset during transit. 3. Transfer the resulting .zip file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the .zip file to decompress it. 5. In the Finder, hold down the Option key and choose Go > Library. 6. Drag the effects preset file to the following location in the Library folder: /Users/username/Library/Application Support/ProApps/Effects Presets/ 7. If Final Cut Pro is open, quit and reopen it. The transferred video effects preset appears in the Effects browser, in the same category as on the original Mac. Copy and paste keyframes in Final Cut Pro You can copy and paste individual keyframes from one parameter to another. This allows you to move or duplicate a specific effect (or part of an effect) from one clip to another. For example, you can copy and paste an animated color correction effect or an audio filter adjustment. You can also move or copy keyframes from one parameter to another within the same clip. For example, you can copy the center point keyframes from a kaleidoscope effect and paste them in the center point of a radial blur effect so that both effects follow identical paths. You can even copy and paste keyframes within a single parameter, allowing you to create a repeating pattern, or to move an animation from the beginning of a clip to a point later in time. Keyframes can be copied from any parameter, including parameters in clip effects (such as opacity, position, and audio volume), parameters in effects applied from the Effects browser (such as Gaussian Blur or Channel EQ), and even published parameters for a title. Any keyframes you can select can be cut, copied, and pasted. Keyframes are always pasted beginning at the location of the playhead or skimmer, and a specific parameter must be selected before you choose the Paste command. If the playhead or skimmer is not currently over the selected clip, no keyframes are pasted. Note: Pasted keyframes replace any keyframes already applied to the destination parameter within the time range of the pasted keyframes. Keyframes outside the time range being pasted are not affected. For example, if you select opacity keyframes covering a 5-second range and then paste them to a new clip’s opacity setting, keyframes within the 5 seconds beginning at the playhead or skimmer are replaced with the copied keyframes. Any keyframes before or after that range remain the same. Final Cut Pro User Guide 388 Copy or move keyframes from one clip to another 1. Select the clip in the Final Cut Pro timeline containing the keyframes you want to copy. 2. To display the specific parameter you want to copy from, do one of the following: • Show the Video Animation editor: Choose Clip > Show Video Animation (or press Control-V). • Show the Audio Animation editor: Choose Clip > Show Audio Animation (or press Control-A). 3. Double-click the graph of the parameter containing the keyframes you want to copy. The graph expands, revealing keyframes arranged along a curve. Note: Some parameters allow you to select keyframes without expanding the graph. 4. Shift-click the keyframes you want to copy, or drag a selection rectangle around them. The selected keyframes are highlighted in yellow. 5. Do one of the following: • Duplicate the keyframes: Choose Edit > Keyframes > Copy (or press Option-Shift-C). • Move the keyframes: Choose Edit > Keyframes > Cut (or press Option-Shift-X). The keyframes are copied to the Clipboard. 6. Select the clip into which you want to paste the keyframes, then show the Video Animation or Audio Animation editor for that clip. Note: You can also copy and paste keyframes within the same clip, or within a single parameter. 7. Click the name or keyframe graph for the parameter you want to paste the keyframes to. When selected, the graph becomes highlighted. 8. Position the playhead on the frame where you want the new keyframes to begin. 9. Choose Edit > Keyframes > Paste (or press Option-Shift-V). The keyframes are added to the selected parameter. Copy or move keyframes from one parameter to another 1. In the Video Animation or Audio Animation editor in Final Cut Pro, select the keyframes you want to copy. Shift-click to select multiple keyframes, or drag a selection rectangle around the keyframes you want to select. 2. Do one of the following: • Duplicate the keyframes: Choose Edit > Keyframes > Copy (or press Option-Shift-C). • Move the keyframes: Choose Edit > Keyframes > Cut (or press Option-Shift-X). 3. Select the parameter to which you want to paste the keyframes. If Solo Animation is turned on, click the parameter pop-up menu and choose the graph for the parameter you want to copy or move the keyframes to. For more information about using Solo Animation, see Add video effect keyframes. Note: Some parameters’ keyframes can be pasted only onto a similar parameter. For example, you can paste audio volume keyframes from one clip to another clip’s volume animation, but you can’t paste those keyframes to a clip’s opacity animation. Final Cut Pro User Guide 389 4. Position the playhead on the frame where you want the pasted keyframes to begin. 5. Choose Edit > Keyframes > Paste (or press Option-Shift-V). The keyframes are added to the selected parameter. Reduce video noise in Final Cut Pro Video noise is a common problem in video clips shot in low-light conditions or with smallsensor devices such as smartphones or action cameras. Video noise is typically a result of digital gain and appears as unwanted grain or artifacts in the video image. You can remove video noise from standard video clips and 360° clips using the Noise Reduction clip effect. Add the Noise Reduction effect 1. Select the clip with video noise in the Final Cut Pro timeline, and position the playhead so that the clip appears in the viewer. 2. Click the Effects button in the top-right corner of the timeline (or press Command-5). 3. In the Effects browser, select the Basics category in the list of Video effects on the left, then select the Noise Reduction effect. For 360° clips, select the 360° category, then select the 360° Noise Reduction effect. Tip: To quickly find the Noise Reduction and 360° Noise Reduction effects, type “noise reduction” in the Effects browser search field. 4. Do one of the following: • Drag the effect to the timeline clip you want to apply it to. • Double-click the effect thumbnail to apply the effect to the selected clip. The first time the effect is applied, Final Cut Pro analyzes the clip for noise. This analysis must be complete before you can see the result. Final Cut Pro User Guide 390 Tip: If you’re applying multiple clip effects to the clip, add Noise Reduction as the first effect (so that it appears at the top of the effects list), or rearrange the order of processing by dragging the Noise Reduction effect to the top of the list. This ensures the best performance and results. See Change clip effect order. Adjust the amount of noise reduction 1. In the Final Cut Pro timeline, select a clip with the Noise Reduction effect. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Do any of the following: • Adjust the amount of noise reduction: Click the Amount pop-up menu and choose the amount of noise reduction to apply. • Adjust sharpness: Click the Sharpness pop-up menu and choose the amount of sharpness to apply. You can examine the effect closely by setting the Zoom pop-up menu in the upper-right corner of the viewer to 100%. When you’re finished, choose Fit from the same menu (or press Shift-Z). Remove or turn off effects in Final Cut Pro You can remove effects that you’ve applied to clips, or you can turn off the effects but retain their settings. There are several ways to remove effects from clips. You can remove effects from individual clips right in the timeline or by using the Video or Audio inspector, or you can remove all effects from a clip selection. To remove selected effects and associated settings from one or more clips, you can use the Remove Attributes command, which provides more control over individual effects and settings. For information about copying and pasting effects and attributes, see Copy effects between clips. Remove selected attributes and effects from one or more clips 1. Select one or more clips with effects in the Final Cut Pro timeline. Final Cut Pro User Guide 391 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window opens, with the clip’s current attributes, effects, and parameters selected. 3. Deselect the checkboxes for the effects, parameters, or attributes you want to retain, and select the checkboxes for the effects, parameters, or attributes you want to remove. 4. Click Remove. Selected clip effects are removed from the selected clips. Selected built-in effects are reset to their default values. Turn off a clip effect 1. Select one or more clips with an effect in the Final Cut Pro timeline. 2. Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to view video effects, or choose Clip > Show Audio Animation (or press Control-A) to view audio effects, then deselect the effect’s checkbox. • Select the effect in the Video or Audio inspector, then deselect the effect’s checkbox. The effect no longer affects the video or audio. You can select the effect’s checkbox to turn the effect back on, with its settings still intact. Remove all effects from one or more clips 1. Select one or more clips with effects in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All clip effects are removed from the selected clips. All built-in effects for the selected clips are reset to their default values. Final Cut Pro User Guide 392 Remove an effect from an individual clip 1. Select the clip with the effect in the Final Cut Pro timeline. 2. Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to view video effects, or choose Clip > Show Audio Animation to view audio effects, then select the effect and press Delete. • Select the effect in the Video or Audio inspector, then press Delete. Modify Final Cut Pro effects in Motion Many of the supplied video effects were created using Motion, an Apple app designed to work with Final Cut Pro. You can open any of these effects in Motion, make modifications, and save the changes as a new effect that appears in the Effects browser. Important: To modify video effects in Motion, you must have Motion 5 installed on your computer. 1. In Final Cut Pro, click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, Control-click the effect you want to modify, then choose “Open a copy in Motion.” Motion opens and the effect’s project appears. 3. Modify the effect’s project. See the Motion User Guide. 4. Choose File > Save As (or press Shift-Command-S), enter a name for this new effect (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the effect is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Final Cut Pro User Guide 393 Add generators Intro to generators in Final Cut Pro Final Cut Pro includes a number of video clips called generators that you can use to add the following elements to your project: • Placeholder content: If your project is missing content that hasn’t yet been shot or delivered, you can add a placeholder clip. The placeholder generator allows you to add a clip to the timeline with a suitable silhouette to represent the missing content. See Add placeholders. • Timecode counter: You can add a generated timecode clip to your project to superimpose a timecode counter over part or all of the project. See Add timecode counters. • Shape clip: You can choose from a wide variety of shapes for adding graphical elements to your project. See Add shapes. • General-purpose background clip: Final Cut Pro includes a variety of still and animated backgrounds over which you can superimpose titles or keying effects. See Add backgrounds. All of the generators are added to the project as clips, using their default duration. You can change a generator’s duration and position the same way you would for any other video clip in the timeline. You use the Generator inspector to adjust a generator’s settings. Note: Generator clips appear in the browser when you select a generators category in the Titles and Generators sidebar. (Generators don’t appear in the Effects browser.) If you don’t see the generator you’re looking for in the browser, you can use the Filter pop-up menu at the top of the browser to check for it in other locations. See Filter Motion content stored in a library. Add placeholders in Final Cut Pro Generated placeholders are useful when you want to fill a gap in the project with a clip that provides a hint about the final content. You can set placeholder clips to represent a wide variety of standard shots, such as close-ups, groups, wide shots, and so on. 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the placeholder clip. 2. Do one of the following: • Choose Edit > Insert Generator > Placeholder (or press Option-Command-W). • In the Titles and Generators sidebar, click the Generators triangle to show the generator categories, select Elements, then double-click the Placeholder thumbnail in the browser. 3. Select the placeholder clip in the timeline. Final Cut Pro User Guide 394 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, adjust the settings for the placeholder clip to match the type of shot you’re creating a placeholder for. 7. To add a text area in the viewer where you can type text that pertains to this clip, select View Notes. If you prefer to fill a gap in the timeline with a blank clip, you can insert a gap clip. See Insert clips. Add the default generator in Final Cut Pro You can set a default generator and quickly add it to your project using a keyboard shortcut or a menu command. Final Cut Pro comes with the default video generator set to Placeholder, but you can change the default to any generator. Add the default generator to your project 1. In the Final Cut Pro timeline, move the playhead to the frame where you want to add the default generator. 2. Choose Edit > Insert Generator > [generator name] (or press Option-Command-W). Note: The name of the menu item changes depending on the current default generator setting. Final Cut Pro User Guide 395 The generator is inserted in the primary storyline at the skimmer or playhead position. Set the default generator 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. In the sidebar, select a generators category so that the appropriate generators appear in the browser. 3. Control-click a generator in the browser and choose Make Default Generator. Add timecode counters in Final Cut Pro When sending your project for review, you can use the Timecode generator to superimpose timecode over it, making it easier for reviewers to precisely specify sections when providing feedback. Note: A related option is the Timecode effect (available in the Effects browser), which displays the clip name and source clip timecode in the viewer and in exported files. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. Select the Elements category in the Titles and Generators sidebar, locate the Timecode generator, and add it to the timeline as a connected clip, so that it’s over the primary storyline and any other clips or storylines. Usually the Timecode generator clip is placed at the start of the project, but you can place it anywhere you want it to appear and adjust its length to match the project’s length. 3. Select the Timecode generator that you added to the timeline. Final Cut Pro User Guide 396 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, adjust the settings for the Timecode generator clip. To return the generator to its default settings, click the Reset button . Add shapes in Final Cut Pro You can use the Shapes generator to add a shape—such as a star, a diamond, an arrow, or a heart—above the primary storyline. You can then animate the shape. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. Final Cut Pro User Guide 397 2. Select the Elements category in the Titles and Generators sidebar, locate the Shapes generator, and add it to the timeline as a connected clip, so that it’s over the primary storyline and any other clips or storylines that you want the shape to appear over. The default shape is a white circle. 3. Select the Shapes generator that you added to the timeline. 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, click the Shape pop-up menu and choose the shape to use, then set the shape’s fill color, outline color and width, and drop shadow. To return the generator to its default settings, click the Reset button . 7. To change the shape’s size, position, and rotation, use the Transform or Distort built-in effect. Using these effects also makes it possible to animate the shape. For example, you can have an arrow follow a person across a room. Final Cut Pro User Guide 398 8. To make the shape partially transparent, select it in the timeline and adjust its Opacity setting in the Video inspector. To open the Video inspector, click the Video button at the top of the inspector. Add backgrounds in Final Cut Pro Many of the generators provide a general background over which you can place built-in effects, titles, keys, and clips with an alpha channel. Some backgrounds are solid colors, and others are textures such as wood or stone. Some generators even have animated movement, providing a more interesting background. 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the background clip. 2. If the Titles and Generators sidebar isn’t already shown, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 3. In the Generators browser, double-click the background thumbnail you want to use. 4. Do one of the following: • Browse all generators: Click Generators in the sidebar to display the generators in the browser. • Browse a single category of generators: Click a category below Generators in the sidebar. To view the generators categories, click the Generators disclosure triangle. 5. Select the background clip in the timeline. 6. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 399 7. Click the Generator button at the top of the inspector. 8. In the Generator inspector, adjust the settings for the background clip (if applicable). Modify Final Cut Pro generators in Motion Many of the generators were created using Motion, an Apple app designed to work with Final Cut Pro. To further customize a generator, you can open it in Motion, make modifications, and save the changes as a new file that you can access from the Titles and Generators sidebar. Important: To modify generators in Motion, you must have Motion 5 installed on your computer. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. In the Titles and Generators sidebar, click Generators, or click a generators category. To view the categories, click the Generators disclosure triangle. 3. In the browser, Control-click a generator thumbnail, then choose “Open a copy in Motion.” Motion opens, and the clip’s project appears. 4. Modify the clip’s project. See the Motion User Guide. Final Cut Pro User Guide 400 5. Choose File > Save As (or press Shift-Command-S), then enter a name for the new generator and click Publish. If you choose File > Save, the generator is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Use onscreen controls Intro to onscreen controls in Final Cut Pro Many effects, transitions, and other items use onscreen controls, superimposed over the video in the viewer, to make it easier to adjust a variety of parameters. In many cases, these onscreen controls duplicate controls in the inspectors, although in some cases the controls are unique and provide the only way to adjust a particular parameter. The controls can be as simple as defining the center of a fisheye effect or as complex as defining the diameter, width, and position of a vignette effect. This section focuses on the types of onscreen controls found in clip effects and transitions. Onscreen controls are also available in other areas of Final Cut Pro, including the following: • Built-in effects: Onscreen controls are used extensively for all built-in effects. See Intro to built-in effects. • Chroma keying: You use specialized onscreen controls when configuring a chroma keyer. See Use chroma keys. • Color corrections: Color corrections can contain onscreen controls used for creating color masks and shape masks. See Intro to color correction effects. Show onscreen controls in Final Cut Pro The onscreen controls for transitions appear when a transition is selected. The onscreen controls for clip effects appear when an effect is selected, or when the playhead is positioned over a clip or title in the timeline that has a video effect applied. You can also show or hide the onscreen controls. Note: Onscreen controls are always hidden when you play clips in the timeline. Show or hide a transition’s onscreen controls In Final Cut Pro, do one of the following: • Show the transition’s onscreen controls: Select the transition in the timeline. • Hide the transition’s onscreen controls: Deselect the transition in the timeline. Final Cut Pro User Guide 401 Show or hide a clip effect’s onscreen controls In Final Cut Pro, do one of the following: • Show the effect’s onscreen controls: Position the playhead over a clip with the effect, or select the clip with the effect in the timeline, then select the effect in either the Video Animation editor or the Video inspector. • Hide the effect’s onscreen controls: Deselect the clip with the effect in the timeline, or deselect the effect in the Video Animation editor or Video inspector. Note: If a clip contains multiple effects that use onscreen controls, only the topmost effect’s onscreen controls appear when the playhead is positioned over the clip. Final Cut Pro onscreen control examples Following are a few examples of the onscreen controls you might use while working with clip effects and transitions. Many other clip effects and transitions use the same or similar controls—these examples are intended to provide general information about using the onscreen controls. Keep the following in mind while going through these examples: • The examples assume that you’re familiar with applying clip effects to clips in the timeline. • You can apply multiple clip effects to the same clip, but for the purpose of these examples, it’s best to either apply each clip effect to a different timeline clip or remove the clip effect before applying a different one. • These examples also assume that you’re familiar with adding transitions to edit points in the timeline. • Most of the effects and transitions have additional adjustments in the Video inspector or Transition inspector. Example: Apply a Censor effect 1. In Final Cut Pro, open the Effects browser and drag the Censor effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 402 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s size: Drag the outer circle. Example: Apply a Droplet effect 1. In Final Cut Pro, open the Effects browser and drag the Droplet effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s outer limit: Drag the outer circle. • Set the effect’s inner limit: Drag the inner circle. Final Cut Pro User Guide 403 • Set the effect’s overall size: Drag any area in between the inner and outer circles. A shaded area appears when the pointer is in this area. Example: Apply a Prism effect 1. In Final Cut Pro, open the Effects browser and drag the Prism effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the direction of the effect, drag the arrow. Because the effect has no center setting, the circle in the center can’t be dragged. Final Cut Pro User Guide 404 Example: Apply a Scrape effect 1. In Final Cut Pro, open the Effects browser and drag the Scrape effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s direction: Drag the rotation handle. Example: Apply a Center transition 1. In Final Cut Pro, open the Transitions browser and drag the Center transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Position the transition: Drag the center circle. • Set the transition’s direction: Drag the arrow. Final Cut Pro User Guide 405 • Set the transition’s border width: Drag the outer handle toward or away from the center circle. Example: Apply a Star transition 1. In Final Cut Pro, open the Transitions browser and drag the Star transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Position the transition: Drag the center circle. • Set the number of points on the star: Drag the longer handle. • Rotate the star: Drag the shorter handle. Final Cut Pro User Guide 406 Example: Apply a Zoom & Pan transition 1. In Final Cut Pro, open the Transitions browser and drag the Zoom & Pan transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Set the transition’s start point: Drag the green circle. • Set the transition’s end point: Drag the red circle. Animate video effects Intro to video keyframing in Final Cut Pro In Final Cut Pro, you can create simple changes to video over time, such as fading the video from invisible to visible at the beginning of a movie. Or you can make sophisticated and precise adjustments over time to many individual parameters of video effects, transitions, motion paths, and so on. You use keyframes and fade handles in the Video Animation editor to change effects over time. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. After the keyframes were determined, an in-between artist drew all the frames between the keyframes. With Final Cut Pro, you can set parameters to specific values at specific times (represented by keyframes) and Final Cut Pro acts as an automatic, real-time in-between artist, calculating all the values between your keyframes. For example, to animate a parameter, such as a rotation or scale setting, you need to create at least two keyframes in the clip. Final Cut Pro calculates the setting’s value between the keyframes, creating a smooth motion as the setting changes. Final Cut Pro User Guide 407 You can keyframe and animate both video and audio effects in Final Cut Pro, including individual effect parameters and clip properties. To learn about keyframing audio, see Keyframe audio effects. Add video effect keyframes in Final Cut Pro You place keyframes at specific points in a clip to change parameter values at those points. For example, if you want a clip in your project to fade to black, you set two opacity keyframes at two different times: one with the value of 100 (fully visible) and a second with the value of 0 (fully transparent). Final Cut Pro interpolates the values between 100 and 0, creating a smooth fade to black. You can set keyframes in the timeline or in the Video inspector. To see keyframes in the timeline, you need to display the Video Animation editor for the clip. Additional keyframing controls appear with the Final Cut Pro built-in effects. See Work with built-in effects. To learn about keyframing audio clips, see Keyframe audio effects. Add keyframes 1. In Final Cut Pro, do one of the following: • Select a clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip in the timeline and choose Show Video Animation. Each effect in the Video Animation editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Video Animation editor with a down arrow next to the effect’s name or in the Video inspector as additional parameter controls. 2. In either the Video Animation editor or the Effects section of the Video inspector, select the effect or effect parameter for which you want to add keyframes. Final Cut Pro User Guide 408 3. Do one of the following: • See expanded parameters in the Video Animation editor: Click the down arrow next to the effect and choose an individual parameter from the pop-up menu, or choose All to add keyframes for all parameters. • See expanded parameters in the Video inspector: Position the pointer over the effect and click Show. 4. Do one of the following for each effect: • In the Video Animation editor: Option-click (or press Option-K) at a point on the horizontal effect control where you want to add the keyframe. Keyframes for the parameter you chose appear as white diamonds; keyframes for other effect parameters appear gray. When you choose to view all parameters in the Video Animation editor, keyframes appear as white diamonds for all parameters. Double diamonds indicate that you added a keyframe for more than one parameter at that point. • In the Video inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button (or press Option-K). After you add a keyframe, the Keyframe button becomes solid, indicating that the playhead is currently on this keyframe. Final Cut Pro User Guide 409 When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the effect parameter value in the Video inspector. Add keyframes automatically across a selected area If an effect appears in the Video Animation editor with a disclosure button, you can use either the Select or Range Selection tool to add keyframes automatically across a selected area. 1. In Final Cut Pro, do one of the following: • Select a clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip and choose Show Video Animation. 2. Select an effect, then click the disclosure button to expand it in the Video Animation editor. 3. Click the Tools pop-up menu in the top-left corner of the timeline, then choose either Select or Range Selection (or press A for Select, or R for Range Selection). Final Cut Pro User Guide 410 4. Drag across the area in the Video Animation editor where you want to adjust the effect. Tip: To deselect the range, click anywhere in the timeline background. 5. Adjust the effect within the range by dragging the effect’s horizontal control up or down. Keyframes are automatically created along the adjustment points within the range. Adjust keyframes in the Video Animation editor You can move keyframes left or right in the Video Animation editor. If an effect appears with a disclosure button in the Video Animation editor, you can expand the effect view and move keyframes up or down to change the parameter value, and you can also fade video effects in or out or change the shape of the effect curve between keyframes. See Adjust effect curves. 1. Select a keyframe in the Final Cut Pro Video Animation editor. Final Cut Pro User Guide 411 2. Do any of the following: • Change a keyframe’s position in time: Drag a keyframe left or right. As you drag, the timecode value appears. • Change a keyframe’s parameter value: Drag the keyframe up or down. If an effect appears with a disclosure button, click the button (or double-click the effect) to expand it. • Add another keyframe: Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. • Add a keyframe and change the effect’s parameter value at the same time: Optionclick while dragging the effect control up or down. Adjust keyframes in the Video inspector For many effects, you adjust the parameter value of individual keyframes using the Video inspector. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. Or, to use keyboard shortcuts, select the parameter in the Video Animation editor, then press Option-Semicolon (;) to go to the previous keyframe or OptionApostrophe (’) to go to the next keyframe. Final Cut Pro User Guide 412 1. If the Video inspector isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 2. Click the Video button at the top of the inspector. 3. Select a keyframe or position the playhead on a keyframe, then adjust the parameter value in the Video inspector. 4. To change the value at the next keyframe, go to the next keyframe, then adjust the value in the Video inspector. Delete keyframes In Final Cut Pro, do one of the following: • Select a keyframe in the Video Animation editor, then press Option-Shift-Delete. • Navigate to a keyframe in the Video inspector, then click the Keyframe button. View only one effect at a time in the Video Animation editor You can collapse the Video Animation editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1. In Final Cut Pro, choose Clip > Solo Animation (or press Control-Shift-V). 2. In the Video Animation editor, click the triangle next to the displayed effect’s name and choose an effect. Note: When Solo Animation is turned on, you can’t delete effects from the Video Animation editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Control-Shift-V). Hide video animation for a clip In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Hide Video Animation (or press Control-V). • Click the close button in the top-left corner of the Video Animation editor. • Control-click the clip in the timeline and choose Hide Video Animation. Final Cut Pro User Guide 413 Modify groups of keyframes in Final Cut Pro There are many ways you can modify keyframes to create simple or complex animations. In addition to modifying individual keyframes, you can also modify keyframe groups, effect curves (the line segments between keyframes), or the entire set of keyframes for a given parameter. You can make all of these changes with great precision. Select and modify multiple keyframes You can select and modify multiple keyframes in the Video Animation or Audio Animation editor, or directly in the body of a clip (for audio level keyframes). 1. In Final Cut Pro, do one of the following: • Shift-click more than one keyframe. All intermediate keyframes are selected. You can’t select nonadjacent keyframes. • Drag a selection rectangle around the keyframes you want to select. Tip: In the Video Animation or Audio Animation editor, you can select a range by dragging with the Select tool or the Range Selection tool. To select a range of keyframes displayed in the clip body (such as audio keyframes) you must use the Range Selection tool. 2. To modify the selected keyframes, do any of the following: • Move the group to a different place in time: Drag any individual keyframe horizontally. • Change the value of all the keyframes: Drag any individual keyframe vertically. Keyframe values remain relative to one another while you drag; however, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. • Increase the relative values by 1: Press Option-Up Arrow. • Decrease the relative values by 1: Press Option-Down Arrow. • Move the keyframes earlier in time by 1 frame: Press Comma (,). • Move the keyframes later in time by 1 frame: Press Period (.). Tip: You can also modify any two keyframes simultaneously by selecting the line segment between them and then performing any of the steps above. Adjust all keyframes on a curve You can adjust all keyframes on a curve at once in the Video Animation or Audio Animation editor, or directly in the body of a clip (for audio level keyframes). • In Final Cut Pro, hold down the Command and Option keys, then drag either a keyframe or a curve up or down. Final Cut Pro User Guide 414 All keyframes are adjusted by the same amount, preserving the original shape of the curve. However, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. You can also copy specific keyframes between different attributes or between different clips. See Copy and paste keyframes. Adjust effect curves in Final Cut Pro Some effects in the Video Animation editor include fade handles, which allow you to adjust how long it takes for an effect to fade in or out. For example, you can use fade handles to adjust how long it takes for an opacity effect to fade in, how long it takes to fade up from black, or how long it takes to fade to black. You can also move keyframes up or down to create a curve for the effect parameter and change the curve shape (interpolation) between keyframes. Creating a fade or an effect curve smooths the transition so that the effect changes appear more natural when the clip plays. Final Cut Pro User Guide 415 Change an effect using fade handles 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, it doesn’t have fade handles. 2. Drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, and fade handles at the end of a clip create a fade-out. Change an effect using keyframes 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, you can’t move keyframes up or down. 2. Do any of the following: • Add a keyframe: Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. Tip: To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. Final Cut Pro User Guide 416 • Change the effect’s parameter value at a particular keyframe: Select a keyframe and drag it up or down. Tip: To adjust values with greater precision, hold down the Command key while dragging the keyframe up or down. Change the curve shape (interpolation) between keyframes 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, you can’t move keyframes up or down. 2. Command-drag the line horizontally between the keyframes to create a curve. 3. Control-click the line between keyframes and choose a curve option. • Linear: Maintains a constant rate of change over the duration of the fade. • Ease: Eases in and out of the fade with the midpoint set between the beginning and end values. • Ease In: Starts quickly from the beginning value and then moves slowly toward the end value. • Ease Out: Starts slowly from the beginning value and then moves quickly toward the end value. Note: You can change the curve shape between keyframes for video effects only. For audio volume only, you can change the curve shape for fades created using fade handles, but not keyframes. See Fade audio in and out. Final Cut Pro User Guide 417 Advanced editing Use roles to manage clips and organize the timeline Intro to roles in Final Cut Pro Roles are metadata text and color labels that you assign to clips in the browser or the timeline. When you import clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata and automatically assigns one of five default color-coded roles (Video, Titles, Dialogue, Music, and Effects) to each clip. For example, if a source media file has a Music “genre” metadata tag, Final Cut Pro assigns a green Music role to the imported clip. You can use roles to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems) for distribution, broadcast, audio mixing, or post-production. Because roles are color-coded, you can instantly recognize clips of the same role in the browser and the timeline. You can also highlight particular roles in the timeline. You can use roles in the following ways: • Organize clips with roles and subroles: You can create subroles within a role to further organize your clips, and you can create custom roles to add to the default set. To get the maximum benefit from roles (including organizing the timeline or exporting media stems), make sure your clips have the correct role assignments early in the editing process. See View and reassign roles and Create custom roles. With iXML metadata, you can also create custom roles automatically during import. Final Cut Pro User Guide 418 • Organize the timeline with roles: With a few clicks, you can organize the timeline with “lanes,” in which all clips in the same role appear together in a separate layer of the timeline. See Organize the timeline with audio lanes. You can also display and edit audio components for entire roles and focus the timeline display on a specific role. • Export media stems: A powerful benefit of roles is the ease with which you can export roles as separate files (media stems). This process is often used when delivering stems to match broadcast specifications or when handing off stems for mixing or postproduction. You can export roles as media stems in a combined, multitrack QuickTime file or as separate audio or video files. See Share roles as files. • Create and manage captions: Final Cut Pro features dedicated roles and subroles for adding, editing, and sharing captions (including subtitles and closed captions). See Intro to captions. For detailed information about advanced uses of audio roles, see Audio Roles in Final Cut Pro. Guidelines for using roles in Final Cut Pro Keep the following in mind when using roles: • Every clip component must have an assigned subrole (clips with audio and video always have one audio and one video role). Still images are assigned the Video role by default, but you can create a custom role for still images. You can also create caption roles— for example, for subtitles and closed captions—with subroles for different language versions. Note: A role is a category; each role contains at least one subrole. What actually happens when a role is assigned to a clip is that a subrole within the role is assigned to a component within the clip. • Video roles can’t be assigned to audio-only clips, and audio roles can’t be assigned to video-only clips. • Roles (specifically, subroles) can be assigned to audio or video components of a clip but can’t be assigned to a clip range, or portion of a clip. • You can assign different roles to each instance of a standard clip. For example, if you add a clip from the browser to the timeline, copy clips between events, or copy clips within the timeline, each of these clip instances is independent of the others. • Custom roles and subroles are specific to a library. This means that a custom role that you create for one library is not automatically available in another library. However, if you copy or move clips between libraries, any custom roles and subroles assigned to those clips are also available in the destination library. • Changing a role within a compound clip or multicam clip affects every instance of that clip throughout the library. • When you import clips, Final Cut Pro automatically assigns unique subroles to each audio component in a clip. You can manually assign the same subrole to multiple components in a clip, but this will cause those components to be consolidated (in the same subrole) if you place the clip inside a compound clip, multicam clip, or synced clip. Final Cut Pro User Guide 419 View and reassign roles in Final Cut Pro When you import clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata and automatically assigns roles to each clip. Specifically, Final Cut Pro assigns subroles to the video and audio components in each clip. There are many ways to view and change the default role and subrole assignments. Proper role assignment is the key to organizing the timeline with audio lanes and using roles to export media stems. Note: You can also create and assign custom roles and subroles. See Create custom roles. Assign audio roles in the Audio inspector 1. In the Final Cut Pro browser or timeline, select a clip containing audio. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the Audio inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to reveal all of its contents. Final Cut Pro User Guide 420 5. To change the role assignment for an audio component, click its Roles pop-up menu and choose a different subrole. For more information about audio components, see Audio channels and components. Assign roles using the shortcut menu 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Control-click the selection and choose either Assign Audio Roles or Assign Video Roles, then choose a subrole from the submenu. A checkmark appears next to the subrole you chose. Assign roles using the Modify menu 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Choose Modify > Assign Audio Roles or Modify > Assign Video Roles, then choose a subrole from the submenu. A checkmark appears next to the subrole you chose. Assign roles in the browser 1. In the Final Cut Pro browser in list view, select one or more clips. Final Cut Pro User Guide 421 2. In the Roles column, click the assigned subrole for a clip to see a menu listing the available subroles. If the Roles column isn’t visible in the browser, Control-click a column heading and choose Roles. 3. To change the role assignment for the selection, choose a different subrole from the menu. Assign roles in the Info inspector 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Final Cut Pro User Guide 422 4. In the Info inspector, click the Video Roles or Audio Roles pop-up menu to see the available subroles. 5. To change the role assignment for the selection, choose a different subrole from the Video Roles or Audio Roles pop-up menu. Assign roles in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. Click the Clips button at the top of the timeline index to open the Clips pane. 3. If the roles columns aren’t visible in the Clips pane, Control-click a column heading and choose either Video Roles or Audio Roles. 4. Select one or more clips in the Clips pane. Final Cut Pro User Guide 423 5. To change the role assignment for the selection, click the assigned subrole and choose a different subrole. Note: If you change a clip’s role assignment while audio lanes are shown in the timeline, the clip moves vertically in the timeline to its new audio lane. See Organize the timeline with audio lanes. Create custom roles in Final Cut Pro You can create custom roles and subroles in addition to the five default roles (Video, Titles, Dialogue, Music, and Effects). For example, you might create a separate Dialogue subrole for each actor (or microphone) in your video project, so that you can quickly find and adjust all the clips with that subrole. You can also use custom roles and subroles to create different language versions of a project, so you can export a version of the project with titles, captions, and narration in each language. For example, you could organize voiceover narration clips into a separate audio lane in the timeline by first creating a custom Voiceover role and then assigning subroles (one for each language) to your voiceover narration clips. Note: Custom roles and subroles are specific to a library. This means that a custom role that you create for one library is not automatically available in another library. However, if you copy or move clips between libraries, any custom roles and subroles assigned to those clips are also available in the destination library. Final Cut Pro User Guide 424 Create custom roles 1. To open the role editor in Final Cut Pro, do one of the following: • Choose Modify > Edit Roles. • In the Roles pane of the timeline index, click Edit Roles. • Control-click a clip and choose either Assign Audio Roles or Assign Video Roles, then choose Edit Roles from the submenu. • With a clip selected in the browser or the timeline, open the Info inspector, then click either the Video Roles pop-up menu or the Audio Roles pop-up menu and choose Edit Roles. 2. Do one of the following: • Create a video role: Click the Add Video Role button at the top of the Video Roles section. • Create an audio role: Click the Add Audio Role button at the top of the Audio Roles section. The new role appears at the bottom of the section and contains a default subrole with the same name. New roles are automatically assigned a distinct color. To change the color, see Change role colors or names. 3. Type a name for the new role. After you create a new role, it appears in the roles list so that you can assign its subroles to any clip. Final Cut Pro User Guide 425 Create custom subroles Subroles allow you to organize clips and components within a role. For example, you could create a Foley Effects subrole within the Effects role, or a Spanish Subtitles subrole within the Titles role. 1. To open the role editor in Final Cut Pro, do one of the following: • Choose Modify > Edit Roles. • Control-click a clip and choose either Assign Audio Roles or Assign Video Roles, then choose Edit Roles from the submenu. • In the Roles pane of the timeline index, click Edit Roles. • With a clip selected in the browser or the timeline, open the Info inspector, then click either the Video Roles pop-up menu or the Audio Roles pop-up menu and choose Edit Roles. 2. In the role editor, move the pointer over one of the roles and click the Add Subrole button. The new subrole appears in the list below the role. Final Cut Pro User Guide 426 3. Type a name for the new subrole. The new subrole appears below its parent role in roles lists throughout Final Cut Pro. When you assign subroles to clips in the timeline, the subroles also appear in the timeline index. Change the name of a custom role or subrole 1. In the role editor in Final Cut Pro, move the pointer over the name of a custom role or subrole. To show subroles, click Show to the right of the role name. 2. Select the name of the role or subrole, then enter the new name. Delete a custom role or subrole Important: Deleting a role or subrole may update existing edits, which can cause changes to your project’s audio. For example, deleting a custom subrole causes components with that subrole assignment to revert to a default subrole. 1. In Final Cut Pro, open the role editor. 2. In the role editor, move the pointer over the name of a custom role or subrole, then click the Delete button that appears to the left of the role name. To show subroles, click Show Subroles to the right of the role name. The role or subrole is removed from the list. Any clips that had the role or subrole assigned revert to their default roles and subroles. Final Cut Pro User Guide 427 Merge custom subroles You can merge a subrole with another subrole (in any role in your library). Any clips in the library that were assigned the original subrole are assigned the merged subrole instead. 1. In Final Cut Pro, open the role editor. 2. Move the pointer over the role with the subroles you want to merge, then click Show Subroles. 3. Move the pointer over one of the subroles you want to merge. A handle (three horizontal lines) appears at the right end of the subrole. 4. Use the handle to drag the subrole to the subrole you want to merge it with. The subroles are merged into one subrole. The existing role assignments of the source subrole change to the target subrole across every clip in the library. Move a subrole to another role You can move a subrole from one role to another. All of the existing assignments of the subrole in the library are maintained but are updated to show the new parent role. 1. In Final Cut Pro, open the role editor. 2. Move the pointer over the role that contains the subrole you want to move, then click Show. 3. Move the pointer over the subrole you want to move. A handle (three horizontal lines) appears at the right end of the subrole. 4. Use the handle to drag the subrole to the role you want to move it to. For the most precise and powerful audio editing, you can also display all subroles for one or more roles. Final Cut Pro User Guide 428 Assign audio roles during import in Final Cut Pro By default, when you import media clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata to assign one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, or Effects. (Specifically, Final Cut Pro assigns a subrole of one of the default roles to each video or audio component.) You can adjust the assignment of audio roles on import in two ways: by setting the role assignment manually or by having Final Cut Pro create custom roles automatically while importing media files with iXML metadata. Override automatic role assignment for audio files during import For any given import session, you can override the automatic role assignment process so that every imported audio component is assigned a role of your choosing. You can specify one of the three default audio roles or a custom role that you create. When you import with this setting enabled, Final Cut Pro assigns a unique subrole (from the role you specify) to every component in each clip. For example, imagine that you’ve recorded several hundred natural sound files for use as Foley sound effects in your video project. By default, Final Cut Pro assigns the Dialogue role to natural sound recordings (with no additional metadata). Instead, you could assign the more appropriate Effects role to every clip in the import session. 1. To open the Import pane of Final Cut Pro preferences, choose Final Cut Pro > Preferences (or press Command-Comma), then click Import. 2. In the Audio Roles section, click the Assign Role pop-up menu and choose a role. Note: The Assign Role pop-up menu also appears in the Audio Roles section on the right side of the Media Import window. All default and custom audio roles appear in this pop-up menu. For information about creating custom roles and subroles, see Create custom roles. 3. Import the files. The role you chose is assigned to the imported clips. (More precisely, components in the imported clips are assigned subroles of the role you chose.) You can change this and any other import preferences using the settings in the Media Import window or the Import pane of Final Cut Pro preferences. To revert to the default setting, so that roles are assigned automatically when you import clips, click the Assign Role pop-up menu and choose Automatically. Create custom roles automatically during import using iXML metadata Final Cut Pro can use the iXML metadata tags in an audio channel to create custom subroles and assign them to audio components during import. For example, during production, a sound recordist might enter “Boom mic” and “Jessie lav mic” on the recording device to identify the audio channels of a recording. During import, Final Cut Pro can use the iXML names to create subroles named “Boom mic” and “Jessie lav mic” and assign t hem to the corresponding audio components in the imported clips. 1. Configure your recording device so that your recordings include iXML data. See the documentation that came with your recording device. Final Cut Pro User Guide 429 2. On the device, enter the role name for each audio channel that should be assigned a role, then make your recordings. 3. To set Final Cut Pro to create roles automatically during import, choose Final Cut Pro > Preferences (or press Command-Comma), click Import, then make sure the “Assign iXML track names if available” checkbox is selected in the Audio Roles section. Note: The “Assign iXML track names if available” checkbox also appears in the Audio Roles section on the right side of the Media Import window. 4. Import the files that include iXML metadata. Final Cut Pro creates subroles with the names you entered in step 2 and assigns the subroles to the corresponding components in the imported clips. Tip: You can use the manual override setting and the iXML method together. For example, if role override is set to a custom role named Location Sound and “Assign iXML track names if available” is selected, imported clips will be assigned the Location Sound role, and subroles will be created from the iXML track names and assigned to the corresponding audio components. All of this occurs automatically on import, and the setting is retained for future import operations. Change role colors or names in Final Cut Pro Roles have distinct colors that let you instantly recognize clips by role in the browser and the timeline. You can change the color of a role and, by extension, the color of the clips it’s assigned to. You can also rename roles and subroles, within certain basic guidelines. Note: Clips with video and audio take the color of the audio role. Change a role’s color 1. In the Final Cut Pro role editor, move the pointer over a role, then click the Change Color button to the right of the role name. 2. Click the new color for the role. All the clips assigned that role display the new color in the timeline and the browser. Final Cut Pro User Guide 430 Rename a role or a subrole • In the Final Cut Pro role editor, select the name of a role or subrole and type a new name. Keep the following in mind when renaming roles or subroles: • You can rename custom roles or any subrole, but you can’t rename the default roles (Titles, Video, Dialogue, Effects, Music, and Mixed Audio). You also can’t rename a role or subrole using one of the default role names. • Renaming a role also renames its default subroles throughout a library, but not custom subroles that you created. • Renaming a subrole updates every clip using that subrole in the library. Organize the timeline with roles and subroles Organize the Final Cut Pro timeline with audio lanes With a few clicks, you can arrange audio clips into audio lanes in the timeline, based on their role assignments. Audio lanes appear as separate, visually distinct layers in the timeline. This view organizes audio clips visually and provides reference points that make editing easier and more efficient. Organizing the timeline in this way does not affect the content of your project or how it plays back in the viewer—it simply adjusts the timeline appearance for your editing convenience. Note: When you display audio roles in separate lanes in the timeline, any clips that contain both audio and video are expanded to show audio and video separately. Final Cut Pro User Guide 431 1. In Final Cut Pro, open the Roles pane of the timeline index by doing one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. Do one of the following: • Show an audio role in a separate lane: In the Roles pane, click the Audio Lane button to the right of a role. Audio clips with that role assigned appear in a separate lane in the timeline. A text label appears at the left side of the lane in the timeline, identifying the role. Repeat this step for each role that you want to show in a separate lane. • Show all audio roles in separate lanes: Click Show Audio Lanes at the bottom of the timeline index. Separate lanes appear in the timeline for each role, with audio clips in the lanes of their assigned roles. A text label appears at the left side of each audio lane, identifying the role. Final Cut Pro User Guide 432 The lanes in the timeline appear in the order you define in the timeline index. See Reorder audio roles. To help you keep track of the current timeline organization, a diamond-shaped change indicator appears in the Index button in the top-left corner of the timeline whenever you change any roles settings from their default states. These roles changes include showing roles and subroles in separate audio lanes, focusing the timeline on a specific role, and turning off roles or subroles. Note: You can also customize the display of clips in the timeline by changing the clip appearance and height, and you can choose whether to view clips by name or role. See Adjust timeline clip appearance. Edit components in audio lanes in Final Cut Pro By default, audio clips in the timeline are represented by a single audio waveform. You can expand the audio portion of any clip to view and edit audio components down to the individual channel level. You can also display all audio components in audio lanes, organized by roles and subroles. This view provides precise control over all the audio elements in your project. The components remain in their dedicated lanes, even when you trim overlaps. For any lane, you can switch between the audio component view and the default view with a single click. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. In the Roles pane, click the Show Subroles button for each role whose components you want to show. Final Cut Pro User Guide 433 Separate audio lanes appear in the timeline for each subrole in the role or roles. Text labels appear at the left side of the audio lanes, identifying each role and subrole. In the timeline index, subroles appear in a list below the parent role. To return to the default clip view for a role, click the role’s Show Subroles button again. Tip: When audio components are shown in audio lanes, you can make roll edits between adjacent components. You don’t need to create a connected storyline. Focus the Final Cut Pro timeline on a role When you need to focus on clips in a particular audio role, you can use the Focus button in the timeline index to make more space to view and work with those clips in the timeline. Clips assigned to other audio roles are minimized and appear smaller in the timeline. For example, imagine that you’ve finished the video editing on your project and are ready to enhance the project with sound effects. You can click the Focus button in the Effects role to temporarily remove the clutter and distractions caused by clips from other roles, allowing you to zero in on the effects clips. Focusing the timeline in this way does not affect the content of your project or how it plays back in the viewer—it simply adjusts the timeline appearance for your editing convenience. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. Final Cut Pro User Guide 434 2. In the Roles pane, click the Focus button for the audio role whose clips you want to concentrate on. Tip: It can be helpful to move the role you’re editing closer to the primary storyline (to more easily align and sync audio edits with video edit points). See Reorder audio roles. Reorder audio roles in Final Cut Pro By default, Final Cut Pro shows audio roles in the following order in the timeline: Dialogue, Music, and Effects. However, there are times when you may want to view audio roles in a different order. For example, when you’ve finished the video editing on your project, you might want to move a role you’re editing (such as Effects) closer to the primary storyline to more easily align and sync audio edits with video edit points. You can reorder the default roles and subroles as well as any custom ones you create. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles. • Choose View > Timeline Index > Roles. 2. To reorder roles or subroles, drag them up or down in the Roles pane. For information about viewing subroles, see Edit components in audio lanes. Final Cut Pro User Guide 435 As you drag a role or subrole in the timeline index, clips in the timeline with that role or subrole assigned move up or down to match the new order. Turn roles on or off in Final Cut Pro You can turn off roles and subroles in the timeline to suspend playback for all clips with those roles assigned. For example, you could turn off all roles except Dialogue to play back only dialogue clips, and then turn on the Music role to listen to the movie soundtrack along with the dialogue. If you turn off video, audio, or title roles and subroles, those roles are not included in output media files when you share your project. However, if you use the Export File destination or an Apple Devices destination to export a multitrack QuickTime or MXF file, you can use the Roles pane of the Share window to add disabled roles back in during the export process. See Export MXF files and Share roles as files. Turning roles and subroles on or off does not affect settings in the browser, the timeline, or the inspectors. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. In the Roles pane, select the checkboxes next to the roles or subroles you want to turn on, and deselect the checkboxes next to the roles or subroles you want to turn off. For information about viewing subroles, see Edit components in audio lanes. Final Cut Pro User Guide 436 Active roles appear in color in the timeline. In inactive video roles, the filmstrip portion of clips is gray. In inactive audio roles, the waveform portion of clips is gray. 3. To preview clips by role, play back your project. Only clips with active roles assigned play back. Work with audio roles in compound clips in Final Cut Pro In Final Cut Pro, you can create several different types of clips with varying degrees of complexity. In many cases, clips can have multiple audio components, including the following clip types: • Compound clips • Multicam clips • Synced clips In Final Cut Pro 10.3, compound clips, multicam clips, and synced clips generate role components based on the audio role assignments within the clip. A role component is like a traditional audio bus—if multiple audio components share the same subrole, their audio is mixed together into a single role component. Compound clips, multicam clips, and synced clips share some common role-related properties. The main property is that if role assignments within the clip change, the role components are updated automatically. There are also some important differences between these three clip types: • Compound clips have one set of role components per clip. A unique property of compound clips is that you have the option to generate role components based on either subroles or roles. When you generate role components based on subroles, a role component is created for each subrole found within the compound clip. When you generate role components based on roles, the subroles in the clip are combined into the role components of their parent roles. Final Cut Pro User Guide 437 • Multicam clips have one set of role components per angle. Every angle in a multicam clip creates a set of role components according to the subrole assignments contained within the angle. • Synced clips have one set of role components for the storyline, and another set of role components for connected clips. You can view role components for compound clips, multicam clips, and synced clips in the Audio Configuration section of the Audio inspector. You can also show expanded audio components in the timeline to work with role components there. Manage role components in compound clips You can use role components in compound clips to make changes to an entire role at once. For example, a typical project has clips with various Dialogue subroles assigned, some clips with Effects subroles, and perhaps a clip with a Music subrole. If you wrap the entire project in a compound clip, the resulting compound clip has role components for Dialogue, Music, and Effects. You can apply volume changes and effects to the role components to complete your mix. You can view the roles of clips and components inside a compound clip, but you can’t assign roles to the compound clip itself. 1. Select a compound clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. Final Cut Pro User Guide 438 The Audio Configuration section shows the role components in the compound clip. You can’t change role assignments in this view. 5. To choose whether role components are based on roles or subroles, click the “Show Components as” pop-up menu and choose an option. When the “View components as” pop-up menu is set to Subroles, as in the example below, each role component is based on a subrole found in the compound clip, not on a parent role. Note: Changing this view with the pop-up menu also changes how the components are displayed in the timeline when you show expanded audio components for the compound clip. Final Cut Pro User Guide 439 In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a compound clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. If you want to assign different roles to specific clips within the compound clip, you can open the compound clip for editing and then assign subroles to individual components of the constituent clips. For more information about compound clips, see Intro to compound clips. Manage role components in multicam clips Every angle in a multicam clip creates a set of role components according to the subrole assignments contained within the angle. For example, if there are five audio components in angle A, but they’re all assigned to the Dialogue-1 subrole, Final Cut Pro displays a single role component named Dialogue-1 for angle A. If the role assignments of clips inside an angle change, the role components generated by that angle are updated automatically. 1. Select a multicam clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 440 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. The Audio Configuration section shows the role components for the active angle of your multicam clip. Each role component is based on a subrole assigned to a clip in the angle. You can’t change role assignments in this view. However, you can enable or disable the audio from other angles by clicking their respective checkboxes. As you cut and switch between angles in your multicam clip, the role components are automatically enabled or disabled to match your edits. In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a multicam clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. If you want to assign different roles to specific clips within the multicam clip, you can open the clip in the angle editor and then assign subroles to individual components of the constituent clips. For more information about multicam clips, see Intro to multicam editing. Manage role components in synced clips When you have Final Cut Pro automatically analyze and sync audio and video clips, the resulting synced clips are specialized versions of compound clips. Final Cut Pro creates two sets of role components for each synced clip: one based on the subrole assignments for all the clips in the primary storyline, and one based on the subrole assignments for all the connected clips. For each set of role components, the same rules apply as for compound clips or for angles in multicam clips. 1. Select a synced clip in the Final Cut Pro browser or timeline. Final Cut Pro User Guide 441 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. In the example below, the Audio Configuration section shows two role components representing the contents of the synced clip: Storyline (the clip in the primary storyline) and Connected (all the connected clips synced to the primary storyline). You can’t change role assignments in this view. In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a synced clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. Final Cut Pro User Guide 442 If you want to assign different roles to specific clips within the synced clip, you can open the synced clip for editing and then assign subroles to individual components of the constituent clips. For more information about synced clips, see Sync audio and video. Add audio effects to clips with multiple audio components When you apply effects to whole clips that have multiple audio components, Final Cut Pro automatically mixes the audio down to the main audio roles. The appearance of the clips may change, depending on whether the audio components have different parent roles or the same parent role. • Different parent roles: Apply an audio effect to a clip containing multiple audio components that have subrole assignments from different parent roles (for example, some Dialogue subroles, some Music subroles, and some Effects subroles). In this case, there isn’t one parent role to mix down to, so the output is assigned to a special Mixed Audio role. The clip appears gray in the timeline and the inspector. • Same parent role: Apply an audio effect to a clip containing multiple audio components within the same parent role (for example, all Dialogue subroles). The clip is automatically mixed down to the parent audio role (Dialogue). The clip doesn’t appear gray because it’s not a mixed-role clip. For detailed information about advanced uses of audio roles, see Audio Roles in Final Cut Pro. Export roles with Final Cut Pro When exporting your project, you can export separate files (called media stems) for each role. This process is often used when delivering files to match broadcast specifications or when handing off media stems for mixing or post-production. You can export roles in a combined, multitrack QuickTime file or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Share roles as files. Final Cut Pro User Guide 443 Add, adjust, and share captions Intro to captions in Final Cut Pro Captions is a general term for timed text—visible lines of text that are synced with video and audio media. Captions are most often used for subtitles (translations of the dialogue in foreign-language movies and TV shows) or closed captions (transcriptions of a program’s audio for people who are deaf or hard of hearing or for display on muted devices). Captions are also used for karaoke, scrolling news items, and teleprompters. Government regulators, broadcasters, and streaming services often have specific requirements for subtitles and closed captions. With Final Cut Pro, you can add captions to your projects and embed them in output files—for example, when you export files for broadcast, burn DVDs, or publish your project to video-sharing websites. You can also import and export captions as separate files, independent of the associated projects and media. How captions differ from titles Captions have particular traits that distinguish them from titles: • Captions are always visibly superimposed over everything else in the video frame, including titles. • Typically, viewers can turn captions on or off while watching TV shows, movies, web videos, and other programs. In contrast, titles are always permanently “burned in to” the output media file. (However, Final Cut Pro does offer the option to burn in captions permanently.) • Captions have industry file and formatting standards that make file transfers and interchange possible. • In Final Cut Pro, captions are assigned format-specific caption roles, with subroles for different language versions. Titles are assigned the Titles role. Final Cut Pro User Guide 444 Caption formats Final Cut Pro supports the following industry standards for captions: • CEA-608 (also known as EIA-608): A caption standard for broadcasts and web video. The CEA-608 caption standard features a variety of position, formatting, color, and animation options. CEA-608 captions can be imported or exported as tracks embedded in a media file or as separate files. • iTT (iTunes Timed Text): A format for delivering caption content to the iTunes Store, YouTube, and Vimeo. The iTT standard features formatting, color, and placement options, including a wider range of alphabets, making it the best choice for languages with non-Roman characters. iTT captions can be imported or exported as separate files, but they can’t be embedded in an output media file the way CEA-608 captions can. • SRT (SubRip Text): A subtitle format supported by Facebook, YouTube, and Vimeo. The SRT format is simple: Each caption has a number, a start and end timecode (in decimal timecode), and one or more lines of text with HTML tags. SRT captions can be imported or exported as separate files, but they can’t be embedded in an output media file the way CEA-608 captions can. Unlike captions in other formats, exported SRT captions can be read and edited in a plain text editor. Final Cut Pro captions workflow You can add captions to your projects to create subtitles, closed captions, and burned-in captions. Special caption roles make it easy to deliver captions in multiple languages. The basic workflow is outlined below. Step 1: Choose a caption format In Final Cut Pro, choose whether to create CEA-608, iTT, or SRT captions. The format you choose depends on the intended use of your project and the target audience. Broadcasters, streaming services, and government regulators each have their own delivery specifications. Step 2: Create a caption role Create a caption role for the chosen format and a subrole for each language version. Final Cut Pro User Guide 445 Step 3: Create or import captions Create or import an initial set of captions in one language. Step 4: Edit caption text Edit caption text directly in the timeline using the caption editor, or make text changes in the inspector. Step 5: Adjust and arrange captions Use the powerful editing tools in Final Cut Pro to adjust the timing and arrangement of captions in your projects. You can sync the captions to specific clips and points in time in your project, and set the duration of each caption. Step 6: Format caption text To determine how your captions look onscreen, you can format caption text in the inspector. The CEA-608 and iTT caption standards each have their own specifications for text formats, placement, color, transitions, number of lines, and number of characters. The SRT format has relatively few formal specifications. You can format SRT captions in Final Cut Pro, but you have the option to remove all formatting during export to make them universally compatible with players and devices. Step 7: Create captions in additional languages After you finalize an initial set of captions in one language, you can create captions in additional languages by duplicating the first set of captions. You can enter translations in the caption editor or the inspector. You can also send the captions out for translation and then import the translated captions. At this stage, you can also Convert captions to another format. Step 8: Export captions You can export captions with your final output media file, either as a separate file or embedded directly in the video file. Create captions in Final Cut Pro You can create captions in Final Cut Pro—for example, to deliver your project with subtitles or closed captions. In Final Cut Pro, captions are assigned special caption roles. To create a new set of captions, you first choose a caption format (CEA-608, iTT, or SRT), then you create a caption role specific to that format and a subrole for each language version. Captions are always connected clips. Captions can also be connected to other connected clips. Final Cut Pro User Guide 446 Create caption roles and subroles 1. To open the Final Cut Pro role editor, do one of the following: • Choose Modify > Edit Roles. • In the Roles pane of the timeline index, click Edit Roles. 2. Click Captions at the top of the role editor to open the Captions pane. 3. To create a caption role, click the Caption Role button, then choose a caption format from the pop-up menu: iTT, CEA-608, or SRT. A new caption role appears in the Caption Roles list in the format you chose. You can change the name of a role at any time by clicking it. By default, Final Cut Pro creates a caption language subrole based on the preferred language setting in macOS System Preferences. For example, if macOS is set to English, Final Cut Pro creates a subrole for the English language. To change the preferred language setting, choose Apple menu > System Preferences, then click Language & Region. 4. Type a name for the caption role. Final Cut Pro User Guide 447 5. To add another language subrole, move the pointer over the caption role in the Captions pane, click the Language button, then choose a language from the pop-up menu. The new language subrole appears in the list below the role. To delete a caption role or a language subrole, move the pointer over the role or subrole, then click the Delete button (–) to the left of the role or subrole name. 6. Click Apply. The caption roles and subroles you created are now available to any project in the library. To create the actual captions and assign them to subroles, see Create captions, below. Note: Choosing a language does not affect what kind of characters can be typed into the captions. Additional steps may be required for some languages. See the macOS Help topic Type in another language with input sources. Create captions For the most efficient workflow, make sure the dialogue and related audio in your project are “locked” (completely finished) before you create, sync, or edit the captions. For example, if you were to add captions and then make changes to dialogue clips later, you might cause the captions to go out of sync with the audio. 1. In the Final Cut Pro timeline, position the playhead where you want a caption to appear. 2. Choose Edit > Captions > Add Caption (or press Option-C, or Control-Option-C if the caption editor is already open). A new caption clip appears at the top of the timeline (in a dedicated caption lane), and the caption editor opens. The caption is connected to the primary storyline at the playhead position. If a connected clip at the playhead position is selected, the caption is connected to that clip instead. See Connect a caption to a connected clip. Important: If you move clips earlier or later in the timeline, any connected captions move with those clips. If you delete clips, any connected captions are deleted. Final Cut Pro User Guide 448 3. Type text for your caption in the caption editor. For information about adjusting a caption’s text style, see Format caption text. 4. Do any of the following: • Create additional captions: Repeat steps 1 through 3 for each new caption. • Edit a caption’s text: Double-click the caption in the timeline (or select it and press Control-Shift-C), then enter your changes in the caption editor. Tip: You can also double-click a caption in the Captions pane of the timeline index to open it in the caption editor. If your caption doesn’t conform to the specifications of the caption format you chose (for example, if the caption is too long), the caption turns red in the timeline and in the Captions pane of the timeline index, and a warning message appears in the inspector. See the Apple Support article Learn about Final Cut Pro caption validation. Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. • Navigate between captions: Click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). • Adjust a caption’s duration: Drag its start point or end point. See Arrange and trim caption clips in the timeline. You can also use powerful trimming techniques with caption clips. See Cut clips in two and Extend or shorten clips. Final Cut Pro User Guide 449 • Adjust a caption’s sync with the clip it’s connected to: Drag the caption left or right in the timeline. (When you drag a caption clip, it overwrites adjacent captions.) Import captions into Final Cut Pro You can import CEA-608, iTT, or SRT caption files directly into your project. Each caption has text content and formatting information, as well as start and end times that Final Cut Pro uses to place the caption at the correct point in the timeline. You can also import source media files that have embedded CEA-608 captions and then extract the captions for use in your Final Cut Pro project. Import captions directly into a project in the timeline 1. Open an existing project in the Final Cut Pro timeline. 2. Choose File > Import > Captions. 3. In the dialog that appears, navigate to the file you want to import, and select the file. The file must be a valid CEA-608, iTT, or SRT caption file. CEA-608 files have the filename extension .scc, iTT files have the filename extension .itt, and SRT files have the filename extension .srt. 4. In the Import as Role section, click the pop-up menu on the left and choose a caption role, then click the pop-up menu on the right and choose a language subrole. Final Cut Pro User Guide 450 5. In the Insertion Time section, select one of the following: • Relative to Timeline: Positions captions in the timeline by adding the project’s start time to each caption’s start time. • Absolute: Positions captions in the timeline at each caption’s start time, regardless of the project’s start time. 6. Click Import. The imported captions appear in a caption lane at the top of the timeline. Import a media file with embedded CEA-608 captions 1. In Final Cut Pro, import the media file that contains the embedded captions. Clips with embedded captions have a caption icon in the browser and the timeline. 2. Add the clip to the timeline, and select the clip. 3. Do one of the following: • Choose Edit > Captions > Extract Captions. • Control-click the clip and choose Extract Captions. The extracted captions appear in a caption lane at the top of the timeline. They are assigned a CEA-608 caption role and a language subrole based on the preferred language setting in the Language & Region pane of macOS System Preferences. You can also use this method to extract captions from compound clips and multicam clips. Show or hide captions in Final Cut Pro You can use the Roles pane of the timeline index to show or hide captions in the viewer and the timeline, and to change the active language subrole (the language version that appears in the viewer). You can use the Captions pane of the timeline index to view, navigate, and search captions in your project. Final Cut Pro User Guide 451 Show or hide captions in the viewer 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. 2. To show captions in the viewer, select the Captions checkbox. You can also click the View pop-up menu in the upper-right corner of the viewer and choose Show Captions from the Captions section. The caption at the timeline playhead position in the active language subrole appears in the viewer, superimposed over the video image. Note: Only one language subrole can be active at a time. See Change the active language. You can show or hide captions in the timeline independently of whether captions are shown in the viewer. To stop displaying captions in the viewer, deselect the Captions checkbox. Show or hide captions in the timeline 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. Final Cut Pro User Guide 452 2. Do one of the following: • Show or hide all captions in the timeline: Click the Show Captions button on the right side of the main Captions bar. • Show or hide an individual language subrole in the timeline: Click the Show Captions button to the right of the language subrole. The corresponding captions appear in, or disappear from, the timeline. Note: The active language subrole can be displayed in the viewer even if it’s hidden in the timeline. See Show or hide captions in the viewer. Change the active language You can change which caption language version is displayed in the viewer by changing the active language. Only one language version appears in the viewer at a time. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. 2. Select the checkbox to the left of the caption language subrole that you want displayed in the viewer. The captions appear in the viewer, and the corresponding caption clips are highlighted in the timeline. Final Cut Pro User Guide 453 Note: You can display the active language subrole in the viewer even if that subrole is hidden in the timeline. See Show or hide captions in the timeline. View, navigate, and search captions The Captions pane of the timeline index lists the captions in the active language subrole in chronological order. (To change the active language subrole, see Change the active language.) Note: If you don’t see the Captions pane, it means you haven’t yet added captions to your project. See Create captions. 1. To open the Final Cut Pro timeline index, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. If the Captions pane isn’t already shown, click Captions to open it. 3. Do any of the following: • Navigate the captions: Select a caption in the Captions pane to move the playhead to the beginning of that caption in the timeline. • Show just the captions with errors: Click View Errors. This is helpful if you’re finalizing your captions and you want to focus on correcting the remaining errors. To view all the captions again, click View All. For more information about caption errors, see the Apple Support article Learn about Final Cut Pro caption validation. Final Cut Pro User Guide 454 • Search all captions in the active language subrole: Enter text in the search field. Edit caption text in Final Cut Pro You can edit the text of your captions directly in the timeline using the caption editor, or you can enter changes in the inspector. 1. In Final Cut Pro, do one of the following: • Double-click a caption in the timeline or the timeline index (or select it and press Control-Shift-C). The caption editor opens, showing the caption text. • Select a caption in the timeline and open the inspector. The text of the caption appears in the Caption Text field at the top of the inspector. 2. Make any text changes, including typing additional text, deleting text, and copying and pasting text. To add a new line, press Return. In a CEA-608 caption, you can enter up to four lines of text, with up to 32 characters per line. The four-line maximum also applies to captions with multiple fields. See Add multiple text fields to CEA-608 captions. Final Cut Pro User Guide 455 In an iTT caption, you can enter up to two lines of text. The character limit is determined by several factors, including the aspect ratio and the title-safe area of the display. In an SRT caption, the character limit is the same as in iTT captions. The number of lines of text is limited only by the player or playback device. See the documentation for your intended player or device. If your caption doesn’t conform to the specifications of the caption format you chose (for example, if the caption is too long), the caption turns red in the timeline and in the Captions pane of the timeline index, and a warning message appears in the inspector. See the Apple Support article Learn about Final Cut Pro caption validation. 3. To navigate between captions, click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. Adjust and arrange captions in Final Cut Pro You use the powerful timeline editing tools in Final Cut Pro to adjust the timing and arrangement of captions in your projects. Arrange and trim caption clips in the timeline You control the timing of captions by arranging and trimming them in the timeline. In many cases, you can move and trim caption clips just as you would other types of clips. Caption clips are always connected clips. Unlike other types of clips, caption clips can also be connected to other connected clips. 1. Open an existing project in the Final Cut Pro timeline. 2. Use the timeline index to show captions in the timeline and the viewer. See Manage captions with the timeline index. 3. Do any of the following: • Adjust a caption’s position in the timeline: Drag it left or right. When you drag a caption clip to adjacent captions, it overwrites the adjacent captions. You can also move caption clips by by entering a timecode value or nudging them with keyboard shortcuts. See Arrange clips in the timeline. • Adjust a caption’s duration: Trim the caption clip by dragging its start or end point. You can also use powerful trimming techniques with caption clips. See Extend or shorten clips. • Roll the edit point between two caption clips: Make a roll edit using the Trim tool. • Cut a caption at any point: Cut the clip using the Blade tool. Final Cut Pro User Guide 456 Connect a caption to a connected clip When you create a caption, it’s connected to the primary storyline at the playhead position. Sometimes, you may want to connect the caption to another connected clip instead—for example, if the connected clip contains dialogue and you want to keep the caption in sync with the dialogue. 1. In the Final Cut Pro timeline, select the caption that you want to connect. 2. Position a connected clip so that it overlaps the caption in the timeline. 3. Option-Command-click the connected clip. The caption is connected to the connected clip at the frame where you clicked. Split multiple-line captions You can quickly split any caption with multiple lines into a series of single-line captions. 1. In the Final Cut Pro timeline, select one or more captions that have multiple lines. 2. Do one of the following: • Choose Edit > Captions > Split Captions (or press Control-Option-Command-C). • Control-click the captions you want to split, then choose Split Captions. Final Cut Pro User Guide 457 The selected captions are replaced with abutting single-line captions, one for each line of text in the original captions. The total duration of the new captions is equal to the duration of the original captions. Join caption clips in the timeline You can combine multiple captions in the timeline into one caption. 1. In the Final Cut Pro timeline, select two or more adjacent caption clips. 2. Do one of the following: • Choose Edit > Captions > Join Captions. • Control-click the captions you want to join, then choose Join Captions. The selected caption clips are replaced with a single caption clip that contains the text from the selected captions. Final Cut Pro User Guide 458 Resolve caption overlaps in the timeline In most cases, overlapping captions in the same language subrole causes an error. If you accidentally overlap captions, the overlapping caption clips turn red in the timeline, and error messages appear in the inspector and the Captions pane of the timeline index. You can fix this problem with the Resolve Overlaps command. Note: It’s OK to overlap iTT captions that are set to Japanese and formatted to appear in different areas of the screen. 1. In the Final Cut Pro timeline, select the overlapping caption clips. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 2. Choose Edit > Captions > Resolve Overlaps. The clips are trimmed so that they no longer overlap. Final Cut Pro User Guide 459 Format caption text in Final Cut Pro You can change the style and formatting of caption text using the inspector. The CEA-608, iTT, and SRT caption standards have varying specifications for text, placement, color, transitions, and so on. Format the text in CEA-608 captions 1. Select one or more CEA-608 caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 460 The Caption inspector appears, showing caption text formatting controls for the CEA608 format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Text field. 4. To select an alignment style for captions with multiple lines of text, click an Alignment button. You can center the text or align it to the left or right. 5. To place captions within the allowable area in the video frame, click a Placement button. You can move the caption left, right, up, or down; move the caption to the left, right, top, or bottom margin; and center the caption horizontally. 6. To set the style of transitions between captions, click the Display Style pop-up menu and choose an option: • Pop-On: No transition (a simple cut between captions). • Paint-On: Starting with the topmost line of text, each line of text in the caption is revealed from left to right, one at a time. • Roll-Up: Each line of text in the caption is revealed at the bottom of the screen using the Paint-On style, and is then animated upward to make room for the next line of text. If you choose the Roll-Up style, a Lines pop-up menu appears. Choose how many lines of text to show at once in the Roll-Up style: 2, 3, or 4 lines. Final Cut Pro User Guide 461 If a series of abutting captions are set to either the Paint-On or the Roll-Up style, their edit points in the timeline become through edits, indicating that the captions will interact. In the example below, all the captions are set to the Roll-Up style. The second caption will push the first caption up, the third caption will push the second caption up, and so on. You can make roll edits on the through edit points to precisely control when the next caption begins to appear. 7. To change caption text to the italic or underline style, click a Formatting button. 8. To change the color of caption text, click a Text Color button. You can select one of eight predefined colors. 9. To set the opacity of the caption text background, click a Text Background Opacity button. You can make the background transparent, semitransparent, or opaque. 10. To set the caption text background color, click a Text Background Color button. You can select one of eight predefined colors. At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the CEA-608 caption format, or displays a green checkmark if no problems are detected. Note: Styling and formatting caption text can add invisible formatting tags, which may cause captions to exceed the limit of 32 characters per line. Format the text in iTT captions 1. Select one or more iTT caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 462 The inspector appears, showing caption text formatting controls for the iTT format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Caption Text field. 4. To change caption text to the bold, italic, or underline style, click a Formatting button. 5. To change the color of caption text, click the Text Color color well to open the Colors window, or click the down arrow to open a pop-up color palette. See Basic color controls and Use the pop-up color palette. 6. To place captions at the top or bottom of the video frame, click a Placement button. For certain languages with vertical writing, the iTT format allows vertical text on the left and right margins, as well as up to four regions of text on the screen at the same time (top, bottom, left, and right). Final Cut Pro User Guide 463 At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the iTT caption format, or displays a green checkmark if no problems are detected. Format the text in SRT captions Important: Because of the absence of text formatting specifications in the SRT standard, any formatting style (such as bold, italic, or underline) that you apply to SRT captions in Final Cut Pro may not appear correctly in your intended player or playback device. For this reason, you can choose to remove all text formatting from SRT captions when you export or share them. See Export captions. 1. Select one or more SRT caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. The inspector appears, showing caption text formatting controls for the SRT format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Caption Text field. 4. To change caption text to the bold, italic, or underline style, click a Formatting button. 5. To change the color of caption text, click the Text Color color well to open the Colors window, or click the down arrow to open a pop-up color palette. See Basic color controls and Use the pop-up color palette. Final Cut Pro User Guide 464 At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the SRT caption format, or displays a green checkmark if no problems are detected. Save or apply the default style 1. Select one or more caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. In the Caption inspector, click the pop-up menu to the far right of the Display heading and choose one of the following: • Save Style as Default: Saves the current text style as the default setting. • Apply Default Style: Applies the default text style to the selected captions. • Reset Default Style: Resets the default text style to the original setting. Add multiple text fields to CEA-608 captions You can split a CEA-608 caption into multiple fields. For example, if two people are speaking at the same time, you can create a text field for each speaker. Each caption can have up to four fields, and you can format each field independently of the others. CEA-608 captions are limited to four lines, but you can distribute the lines in any combination. For example, a caption could have three lines in one field and one line in a second field, or it could have four fields with one line each. 1. Select a CEA-608 caption clip in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 465 3. Click the pop-up menu to the far right of the Caption Text heading, then choose Add Text Field. 4. Enter text for the second field in the additional Caption Text section that appears in the inspector. As you type, the text appears in a new field in the viewer. 5. To position the new text field in the video frame, click a Placement button. 6. Use the text formatting controls in the Display section to adjust the look of the text in the new field. See Format the text in CEA-608 captions. 7. To add additional text fields, repeat steps 3 through 6. To remove a text field, click the pop-up menu to the far right of the Caption Text heading for that field, then choose Remove Text Field. Add special characters to CEA-608 captions You can add special characters (such as the trademark symbol or the degree symbol) to CEA-608 captions. 1. Select a CEA-608 caption clip in the Final Cut Pro timeline. Final Cut Pro User Guide 466 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. In the Caption inspector, position the insertion point in the Text field where you want the special character to appear. 4. Click the pop-up menu to the far right of the Caption Text heading, choose Special Characters, then choose the character from the submenu. Create multilingual captions in Final Cut Pro The easiest way to create captions for a project in multiple languages is to duplicate a finished set of captions and then translate the captions in the duplicate set. This way, you can place the captions and set their timing once, and then reuse that initial work as many times as necessary. 1. In Final Cut Pro, complete the captions for the entire project in the first language subrole. For instructions, see Create captions. Final Cut Pro User Guide 467 2. Select all the captions that you created. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 3. Do one of the following: • Choose Edit > Captions > Duplicate Captions to New Language, then choose a language from the submenu. • Control-click the selected captions, choose Duplicate Captions to New Language, then choose a language from the submenu. The new language appears as a new caption lane in the timeline. Note: Choosing a language does not affect what kind of characters can be typed into the captions. Additional steps may be required for some languages. See the macOS Help topic Type in another language with input sources. 4. To translate the duplicate captions, double-click a caption (or select it and press Control-Option-C), then type the translation in the caption editor. Final Cut Pro User Guide 468 5. Do any of the following: • Navigate between captions: Click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. • Adjust a caption’s duration: Trim it by dragging its start point or end point. See Arrange and trim caption clips in the timeline. You can also use powerful trimming techniques with caption clips. See Cut clips in two and Extend or shorten clips. • Adjust a caption’s sync with the clip it’s connected to: Drag the caption left or right in the timeline. (When you drag a caption clip, it overwrites adjacent captions.) Convert captions to another format In Final Cut Pro, you can convert captions from one caption standard to another—for example, from CEA-608 to iTT. There are two ways to convert captions to another format in Final Cut Pro. You can use the Duplicate Captions to New Format command to create a duplicate set of captions in any format you choose, while keeping a copy of the captions in the original format. In the second method, you convert selected captions by assigning them to a new caption role in the format you want. WARNING: When you convert between formats, some text or formatting may be lost. For this reason, the duplication method is recommended in most cases. Create duplicate captions in another format This conversion method retains a copy of the captions in the original format and is a good way to quickly add languages in a new format. 1. Select the captions that you want to convert. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 2. Do one of the following: • Control-click the selected captions, choose Duplicate Captions to New Format, then choose the new format from the submenu. • Choose Edit > Captions > Duplicate Captions to New Format, then choose the new format from the submenu. A duplicate language subrole is created in the caption format you chose, and appears in the timeline as the active language subrole. Final Cut Pro User Guide 469 Convert captions to another format This conversion method does not keep a copy of the captions in the original format. Use this method when you want to permanently convert captions to a new format (after you’ve made a backup of your project). 1. In Final Cut Pro, create a caption role and any subroles for the caption format that you want to convert to. 2. Select the captions that you want to convert. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 3. Do one of the following: • Control-click the selected captions, choose Assign Caption Roles, then choose the caption role that you created in step 1. • Open the inspector, then click the pop-up menu at the top of the Caption inspector and choose the caption role that you created in step 1. • If you’re converting a single caption, double-click the caption, then click the pop-up menu at the top of the caption editor and choose the caption role that you created in step 1. Note: When converting captions to another format, make sure to choose a main role, not a language subrole. The language subrole is converted to the new format. In the example below, the German language subrole was converted from CEA-608 to iTT. Export captions with Final Cut Pro You can export captions as separate “sidecar” files with your finished media files, or, if your captions are in the CEA-608 format, you can embed them directly in the output media file. You can export captions as separate files directly from the File menu. You can also export or embed captions using Final Cut Pro share destinations that include options for exporting captions. Many share destinations also include an option to burn in captions, so they’re permanently visible. Final Cut Pro User Guide 470 Export captions using the File menu 1. Open the project in the Final Cut Pro timeline, then choose File > Export Captions. 2. In the Save As field, type a name for the exported caption file. 3. Navigate to a folder for the caption file. 4. In the Roles section, select the checkboxes for the language subroles you want to export as caption files. A separate caption file is created for each language subrole you select. 5. In the Start Time section, select one of the following: • Relative to Timeline: Calculate each caption’s start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. 6. If you’re exporting SRT captions, select or deselect the Include Formatting checkbox in the SRT section to retain or remove any text formatting applied to the captions in Final Cut Pro. In most cases, it’s recommended that you deselect this option to remove text formatting. Because of the absence of text formatting specifications in the SRT standard, any formatting style (such as bold, italic, or underline) that you apply to SRT captions in Final Cut Pro may not appear correctly in your intended player or playback device. 7. Click Export. Export captions using share destinations A number of Final Cut Pro share destinations include options for exporting captions. See the following topics: • Share to Apple devices • Export final mastering files • Share on the web • Export MXF files • Create optical discs and disk images • Share using Compressor In addition, the Save Current Frame, Image Sequence, and HTTP Live Streaming destinations allow you to burn in captions so they’re permanently visible, but they don’t support exporting captions as separate files or embedding captions. See the following topics: • Export still images • Export image sequences • Export live-streaming files Final Cut Pro User Guide 471 Group clips with compound clips Intro to compound clips in Final Cut Pro With Final Cut Pro, you can create compound clips, which allow you to group any combination of clips in the timeline or the browser and nest clips within other clips. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project properties. Compound clips function just like other clips: you can add them to your project, trim them, retime them, and add effects and transitions. Icons appear on compound clips in the browser and the timeline. Compound clips have many uses. You can: • Simplify a complicated project by creating a separate compound clip for each major section. • Sync a video clip with one or more audio clips and then combine the clips into a compound clip, to avoid inadvertently moving them out of sync. • Open any clip, edit its contents in the timeline, and then close it. • Quickly create a compound clip containing the clips in an event, based on the browser sort order. • Use a compound clip to create a section of a project with settings different from those of the main project. Final Cut Pro User Guide 472 The following example shows how a project in the timeline could be simplified using compound clips: Compound clips have the following characteristics: • You create compound clips in the browser or in the timeline. • Every compound clip in the timeline has a “parent” compound clip in the browser. • When you edit the contents of any compound clip, you are in fact editing the parent compound clip from the browser. Any changes you make to the compound clip are inherited by all of its child clips. For example, if you delete a title clip from the contents of a parent compound clip, the title clip is deleted from all child clips. You can create an independent compound clip from an existing compound clip. For example, if you have a compound clip of a standard title sequence for a TV or podcast series, you can create unique (independent) instances of the compound clip for each episode without affecting other instances of the title sequence. Final Cut Pro User Guide 473 You can also create a snapshot of the entire project. Project snapshots are selfcontained backup versions that include compound or multicam parent clips. Duplicating a project as a snapshot makes copies of the compound or multicam parent clips and embeds them in the duplicate project so that it’s not affected by changes to any other instances of the clips. See Duplicate projects and clips. Create compound clips in Final Cut Pro You can create a compound clip from existing clips in the timeline or the browser, or you can create a new, empty compound clip in the browser and add clips to it in the timeline. You can also break a compound clip into its component parts in the timeline, so that the items are no longer grouped. Create a compound clip from existing clips 1. Select one or more clips in the Final Cut Pro timeline or browser. The selected clips can be any combination of contiguous or noncontiguous clips, compound clips, primary storyline clips, or connected clips. 2. Do one of the following: • Choose File > New Compound Clip (or press Option-G). • Control-click the selection and choose New Compound Clip. Note: When you add a compound clip to the timeline or create a compound clip from existing clips in the timeline, you create a direct and active relationship between a parent compound clip in the browser and the child compound clip in the timeline. If the parent clip doesn’t already exist in the browser, Final Cut Pro creates one. When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip), you are in fact editing all instances of that compound clip, including the parent compound clip in the browser. Final Cut Pro User Guide 474 The way clips are grouped within the compound clip depends on where you selected the clips: • If you selected clips in an event: Final Cut Pro creates a new compound clip in the event (in addition to the selected clips) and places duplicates of the selected clips in the new compound clip horizontally, in the order in which you selected them. (For more information about creating a compound clip in the browser, see Create an empty compound clip, below.) Final Cut Pro User Guide 475 • If you selected clips in the timeline: Final Cut Pro places the selected clips in the new compound clip exactly as they are laid out in the timeline. The new compound clip inherits the frame size and frame rate of the current project. Create independent compound clips from existing compound clips 1. Select one or more compound clips in the Final Cut Pro timeline. 2. Choose Clip > Reference New Parent Clip. Final Cut Pro creates a new parent compound clip in the browser for each referenced parent clip in your selection. This command breaks the relationship between selected compound clips in the timeline and their original parent compound clips (as well as any child clips of the original parent clips, in all projects). Create an empty compound clip You can create new, empty compound clips and then add clips to them. Each compound clip can be considered a mini project, with its own distinct project properties. 1. In the Libraries sidebar in Final Cut Pro, select an event to which you want to add the compound clip. Final Cut Pro User Guide 476 2. Choose File > New Compound Clip. In the window that appears, type a name for the compound clip in the Name field. 3. To further customize settings for your compound clip, click Use Custom Settings. Note: Final Cut Pro shows the Automatic Settings by default but retains the settings you used last, so this step may be unnecessary. 4. If you want the compound clip’s timecode to start at a value other than the lowest timecode value in the selected clips (the default), type that timecode value in the Starting Timecode field. 5. To adjust video, audio, and rendering settings, click Custom. Unless you have a specific requirement for the compound clip you’re creating, it’s best to leave “Set automatically based on first video clip” and “Use default settings” selected. 6. Click OK. The new compound clip appears in the event. Edit the contents of a standard clip in the timeline You can edit the contents of a standard clip. • Select a clip in the Final Cut Pro browser or timeline, then choose Clip > Open Clip. The timeline displays the contents of the clip. Most standard clips include a video component, an audio component, or both. You can’t edit the contents of these video and audio components. You can add media to the contents of this clip (by adding clips to this timeline). To close this clip, choose View > Timeline History Back. Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your Mac or storage device. See Media files and clips. Break apart clip items You can break apart a compound clip or a standard clip to convert its contents to individual clips in the timeline. • Select a compound clip or a standard clip in the Final Cut Pro timeline, then choose Clip > Break Apart Clip Items (or press Shift-Command-G). Final Cut Pro replaces the clip selected in the timeline with the individual items that made up the clip. If you selected a compound clip, its contents revert back to the original clips that made up the compound clip. However, the parent compound clip remains in the browser. If the selected clip is a standard clip, the contents appear as individual clips in the timeline. Most standard clips include a video component, an audio component, or both. The audio appears as a connected clip. Final Cut Pro User Guide 477 Edit compound clips in Final Cut Pro You can open up compound clips and edit their component parts in a separate timeline, and you can easily navigate up and down a series of compound clip levels. You can also open and edit a compound clip from within an event. Note: When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip), you are in fact editing all instances of that compound clip, including the parent compound clip in the browser. Any changes you make to the internal parts of the compound clip are inherited by all of its child clips, in all projects. These changes can include added or deleted clips, trimming adjustments, and video or audio effects such as color correction, clip speed retiming, and so on. For example, if you delete a title clip from a parent compound clip, the title clip is deleted from all child compound clips. Open a compound clip for editing In Final Cut Pro, do one of the following: • Select a compound clip in the timeline or the browser, then choose Clip > Open Clip. • Double-click the video portion of a compound clip in the timeline or the browser. • Click the compound clip icon in the top-left corner of a compound clip in the timeline. The compound clip opens in a new timeline view, with its contents ready for editing. Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your Mac or storage device. See Media files and clips. Final Cut Pro User Guide 478 Navigate compound clip levels using menu commands You can navigate up or down one or more levels of a compound clip. 1. Open a compound clip in Final Cut Pro. 2. Do any of the following: • Move forward (down one level): Choose View > Timeline History Forward, or press Command-Right Bracket (]). • Move back (up one level): Choose View > Timeline History Back, or press CommandLeft Bracket ([). Navigate compound clip levels using the arrow buttons In Final Cut Pro, do one of the following: 1. Open a compound clip in Final Cut Pro. 2. Do one of the following: • Click the left and right arrows at the top of the timeline. • Click and hold the right or left arrow in the top-left corner of the timeline, then choose a level. The left arrow effectively closes the current compound clip and opens its parent, with the top level being the project or event containing the compound clip. If there’s no history available to navigate, both the left and right arrows are dimmed. Make sure all contents of a compound clip appear in your movie When you’re editing the contents of a compound clip, Final Cut Pro indicates the boundary of the compound clip with a darker crosshatched area to the left of the start point of the clip and to the right of the end point of the clip. Final Cut Pro User Guide 479 If you add clips to the contents of the compound clip, any parts of any clips that extend into the dark gray area do not appear in your project. To allow the new clip material to appear in your Final Cut Pro project, do one of the following: • Reduce the total duration of the other clips inside the compound clip. For example, you could trim one or more clips inside the compound clip. • Close the compound clip to navigate up one level, then extend the total duration of the parent clip (the “outside shell” of the compound clip) in the timeline. For more information, see Intro to trimming. Edit with multicam clips Intro to multicam editing in Final Cut Pro You can use Final Cut Pro to edit footage from multicamera shoots or other synced footage in real time. For example, if you shot a live concert or a wedding with four different cameras, you can sync the footage from each camera angle into a single multicam clip and cut between the angles in real time. The angles in a multicam clip are synced by a common sync point, a frame that you can recognize (visibly or audibly) in each of the angles you’re syncing. When you add a multicam clip to the timeline, the angle that appears in the viewer when you play your project is called the active angle. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. Final Cut Pro User Guide 480 Working with multicam clips in Final Cut Pro is a flexible and fluid process. At any time, you can add angles to or remove angles from a multicam clip, and you can easily adjust the sync between angles. You can also group unrelated footage together for real-time montage editing (such as for music videos). For example, if you’re editing a music video, you could add several angles of abstract visuals and cut to those angles at specific places in the music. You can even use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle. Multicam clips have the following characteristics: • You create multicam clips in the browser only, from existing event clips. • You edit and adjust multicam clips in the angle editor, which looks similar to the timeline. • When you add a multicam clip to the timeline, you create a direct and active relationship between the “parent” multicam clip in the browser and the “child” multicam clip in the timeline. • When you open any multicam clip in the angle editor (whether from the browser or the timeline) you are in fact opening the parent multicam clip from the browser. Any changes you make to a multicam clip in the angle editor are inherited by all of its child clips, in all projects. These changes include sync or trimming adjustments, clip speed retiming, video or audio effects such as color correction, and added or deleted angles. For example, if you delete an angle from a parent multicam clip, the angle is deleted from all child clips. For more information about the angle editor, see Sync and adjust camera angles. Tip: You can create a “snapshot” backup of the entire project to protect it from accidental changes. Project snapshots are self-contained backup versions that include multicam or compound parent clips. Duplicating a project as a snapshot makes copies of the multicam or compound parent clips and embeds them in the duplicate project so that it’s not affected by changes to any other instances of the clips. See Duplicate projects and clips. Final Cut Pro User Guide 481 Final Cut Pro multicam editing workflow The process for creating a multicam project is outlined below. The procedures are presented in rough chronological order, but you can rearrange the order to suit your workflow. Step 1: Shoot an event with multiple cameras and record appropriate sync information A multicamera shoot uses multiple cameras to record the same subject or event from different angles and distances. For multicam projects, it’s a good idea to set the date, the time, and the time zone on your camcorder or recording device before you shoot footage. This provides useful information to Final Cut Pro during the automatic multicam clip creation process. In professional multicamera shoots, each camcorder or video recorder receives the same timecode from a central timecode generator, or you can jam sync the timecode generator of each camera at the beginning of the shoot. If you’re using consumer camcorders, which can’t accept external timecode, you need to record a visible or audible cue, such as a clapboard closing or a camera flash, on all cameras. You can use this cue to sync the angles in your multicam clips. Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam sync accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) Step 2: Import media into Final Cut Pro for a multicam edit Although importing media for multicam projects is the same as importing for any other project, there are steps you can take during importing to help streamline the multicam workflow. Step 3: Assign camera names and multicam angles You can use the Camera Name and Camera Angle metadata tags to automate and organize your multicam workflow. It’s recommended (but not required) to apply these tags to your event clips before you create an actual multicam clip. Step 4: Create multicam clips You create multicam clips from selected event clips (similar to the way you create auditions and compound clips in the browser). Whether you do it manually or have Final Cut Pro do it for you automatically, creating a multicam clip involves three fundamental steps: • Create angles (containing one or more clips each). • Arrange the order of clips within each angle. • Sync the angles using a common sync point. If you know what kind of metadata your source media has, you can create multicam clips using manual methods even faster than with the automatic methods. See Add camera names and angles and Create multicam clips. Final Cut Pro User Guide 482 Step 5: Cut and switch between angles in the angle viewer After you create a multicam clip, you can watch all angles simultaneously in the angle viewer while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. Step 6: Sync and adjust angles in the angle editor You can open multicam clips in the angle editor to adjust the sync and the angle order or to add or delete angles. You can also use the angle editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). Step 7: Edit multicam clips in the timeline You can switch multicam angles directly in the timeline or the inspector, without opening the angle viewer. Although multicam clips have some unique properties, you can edit them in the timeline in the same way you edit any other clips. Import media for multicam edits in Final Cut Pro When you import media for a multicam project, you can give the camcorder or file-based recording device a name. Final Cut Pro uses this Camera Name tag to sort the source clips within a multicam clip during the automatic multicam clip creation process (see Create multicam clips). You can also add the Camera Name property after you import. See Add camera names and angles. If you anticipate having multicam clips with numerous angles, select “Use proxy media” in Playback preferences to maintain top performance during your multicam edit. You can generate the necessary proxy versions of your clips during the import process. If you have only a few angles in your multicam edit, you can make optimized versions of your media during import using the Apple ProRes 422 codec. Or, if you prefer, you can select “Create optimized media for multicam clips” in Playback preferences to generate optimized media automatically every time you create a multicam clip. Name your camera 1. Connect your camera or recording device to your Mac. 2. In Final Cut Pro, choose File > Import > Media (or press Command-I). 3. In the Media Import window, select your camcorder or recording device in the list of devices on the left, if it’s not already selected. 4. Click it again, then enter a name. Final Cut Pro uses the name you enter as the Camera Name metadata property for all clips that you import from this device. Note: Most modern camcorders and recording devices (including all iOS and iPadOS devices) record a Camera ID tag. Final Cut Pro imports the Camera ID metadata automatically when you import from a file-based device and can use this information to automatically build multicam angles. Final Cut Pro User Guide 483 Add camera names and angles in Final Cut Pro The Camera Angle and Camera Name properties are flexible metadata tags that you can use to organize your multicam workflow. Although you can assign metadata to clips at any time, it makes the most sense to assign the Camera Angle and Camera Name tags before you use the clips to create multicam clips. The Camera Angle tag can help you determine and track which clips appear in which angles. The Camera Name tag can be applied during import and is useful in a variety of scenarios, such as in color correction. In Final Cut Pro, you can create multicam clips automatically or manually. If you use the automatic method for creating angles in the multicam clip, Final Cut Pro looks for metadata in the selected clips in the following order: • Camera Angle metadata • Camera Name metadata • Camera ID metadata Note: The Camera ID tag is generated by most modern camcorders and recording devices (including all iOS and iPadOS devices). The Camera ID metadata is imported automatically when you import from a file-based device. Final Cut Pro uses the Camera Angle, Camera Name, and Camera ID metadata to place clips in the correct angle. If none of this information is found, a separate angle is created for each selected clip. In Final Cut Pro, do one of the following: • Select one or more clips in the browser or the timeline, open the Info inspector, then enter text in the Camera Angle field or the Camera Name field. • In the browser in list view, enter text in the Camera Angle column or the Camera Name column for any clip. For more information about the browser list view, see Intro to browser views. Note: If you use the automatic method for creating angles, Final Cut Pro uses any Camera Angle tags in the selected clips to name the angles in the resulting multicam clip. If no Camera Angle tags are present, Final Cut Pro uses Camera Name, Name (clip name), or Camera ID metadata to name angles. You can rename angles in the angle editor. See Sync and adjust camera angles. Create multicam clips in Final Cut Pro Creating multicam clips is similar to creating auditions and compound clips in the browser. Multicam clips can be made up of diverse media sources (different formats, frame rates, and so on). There can be multiple clips in any given angle of a multicam clip. You can have Final Cut Pro create multicam clips for you automatically, or you can create the clips manually. Final Cut Pro User Guide 484 If you know what kind of metadata your multicam media has, you can create multicam clips using manual methods faster than with the automatic methods. The automatic methods use sophisticated automatic audio sync technology to ensure sync accuracy (but at the expense of processing time). You can turn off automatic audio sync if it’s not needed. For example, if you’ve recorded accurate timecode in every clip, Final Cut Pro can create your multicam clip automatically without the audio sync feature. Create a multicam clip automatically 1. In the Final Cut Pro browser, select the clips you want to include in the multicam clip. 2. Do one of the following: • Choose File > New > Multicam Clip. • Control-click the selection and choose New Multicam Clip. 3. If the multicam automatic settings aren’t shown in the window that appears, click Use Automatic Settings in the lower-left corner of the window. The multicam automatic settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 4. Type a name for the multicam clip in the Multicam Clip Name field. 5. Click the In Event pop-up menu and choose the event in which you want to create the new multicam clip. 6. If you want the multicam clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 7. To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. Final Cut Pro User Guide 485 8. Click OK. Final Cut Pro creates a new multicam clip in the event you chose and places duplicates of the selected clips in the new multicam clip. Create a multicam clip with custom settings 1. In the Final Cut Pro browser, select the clips you want to include in the multicam clip. 2. Do one of the following: • Choose File > New > Multicam Clip. • Control-click the selection and choose New Multicam Clip. 3. In the window that appears, type a name for the multicam clip in the Multicam Clip Name field. 4. Click the In Event pop-up menu and choose the event in which you want to create the new multicam clip. 5. If you want the multicam clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. Final Cut Pro User Guide 486 7. If the multicam custom settings aren’t shown, click Use Custom Settings. The custom settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 8. Click the Angle Assembly pop-up menu and choose how the angles in the multicam clip are created: • Automatic: Final Cut Pro creates the angles automatically. • Camera Angle: Final Cut Pro creates angles in the multicam clip based on the Camera Angle property of the selected clips. • Camera Name: Final Cut Pro creates angles in the multicam clip based on the Camera Name property of the selected clips. • Clips: Final Cut Pro creates a separate angle for each selected clip, using the Name property in each clip to name the angle. 9. Click the Angle Clip Ordering pop-up menu and choose how angles are ordered within the multicam clip: • Automatic: Final Cut Pro orders the clips within each angle automatically. If there’s more than one clip per angle, Final Cut Pro inserts gap clips between the clips, as needed, to achieve the correct timing and spacing. • Timecode: Final Cut Pro orders the clips within each angle using timecode recorded in the clips. If you recorded timecode in your clips, choose this option. It’s the fastest and most frame-accurate method of ordering clips. Final Cut Pro User Guide 487 • Content Created: Final Cut Pro orders the clips within each angle using the date and time information recorded by your camcorder or video recording device. The Content Created method can position clips within 1-second accuracy (because in most camcorders the smallest unit in date and time information is 1 second). If you choose this clip-ordering method, consider making your multicam clip frameaccurate by selecting “Use audio for synchronization” (described in step 6) or manually syncing your angles in the angle editor. Tip: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. 10. Click the Angle Synchronization pop-up menu and choose how angles are synced in the multicam clip: • Automatic: Final Cut Pro syncs the angles automatically (using one or more of the following methods). • Timecode: Final Cut Pro syncs the angles based on the timecode recorded in the clips. For more information about recording timecode, see Multicam editing workflow. Note: This option is not available when the drop frame patterns in the selected clips do not match. • Content Created: Final Cut Pro syncs the angles based on the date and time information recorded by your camcorder or video recording device. • Start of First Clip: Final Cut Pro uses the first frame in each angle as the sync point. Final Cut Pro User Guide 488 Tip: The Start of First Clip method is useful if you want to use specific range selections of your source clips only. In the browser, add keywords or the favorite rating to the range selections you want to use, then filter or search for the clips. When you create your multicam clip, Final Cut Pro uses only the media showing in the filtered view. • First Marker on the Angle: Final Cut Pro uses the first marker in each angle as the sync point. Tip: With this method, you can use the first marker to define a region that can be fine-tuned with the “Use audio for synchronization” option (described above). In other words, you don’t need to place the marker exactly—just close enough so that the automatic audio sync feature can sync the angles the rest of the way. 11. If you want to change the video properties settings, click the Video pop-up menu, choose Custom, then change the settings as appropriate. Note: By default, Final Cut Pro analyzes the selected clips and configures these settings according to the most common clip properties among those clips. 12. If you want to change the rendering codec, click the Rendering pop-up menu and choose a different codec. 13. To change the rendering color space for your project, click the Color Space pop-up menu and choose a color space. When the Color Processing setting in the Library Properties inspector is set to Wide Gamut, you can choose either Standard - Rec. 709 or Wide Gamut - Rec. 2020. Otherwise, the rendering color space is chosen for you based on other settings, such as Video Format. For example, setting the video format to NTSC SD automatically sets the color space to Standard - Rec. 601 (NTSC). 14. If you want to change the audio channel configuration or sample rate, use the Channels pop-up menu or the Sample Rate pop-up menu, respectively. 15. Click OK. Final Cut Pro creates a new multicam clip in the event and places duplicates of the selected clips in the new multicam clip. Final Cut Pro User Guide 489 Cut and switch camera angles in Final Cut Pro After you create a multicam clip, you can watch all angles simultaneously in the angle viewer while switching or cutting to different angles in real time. This allows you to cut an entire movie as if it were live, and then fine-tune your edits in the timeline just as you would for any other project. The angle viewer is both a display and an interactive interface for making quick cut and switch decisions as you play back your multicam clips and projects. Angles appear in banks of 2, 4, 9, or 16 angles. Play back a multicam clip in the angle viewer 1. To open the Final Cut Pro angle viewer, do one of the following: • Choose View > Show in Viewer > Angles (or press Shift-Command-7). • Click the View pop-up menu in the top-right corner of the viewer and choose Show Angles. If you’re viewing a multicam clip in the browser, you have the option to show the event viewer next to the viewer. To show multicam angles in the event viewer, do one of the following: • Choose View > Show in Event Viewer > Angles. • Click the View pop-up menu in the top-right corner of the event viewer and choose Angles from the Show section. Final Cut Pro User Guide 490 2. Use the skimmer or the playhead to play back a multicam clip in the browser or the timeline. The angle viewer appears in the upper part of the Final Cut Pro window. Cut and switch angles in the angle viewer You can cut and switch angles “on the fly” (while playing back your project), or you can skim to specific points in the timeline and then cut and switch. You can also use a combination of those two methods. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. Add the multicam clip you want to cut and switch to the timeline. Note: The cut and switch feature works on timeline clips only. 3. Do one of the following: • Position the playhead where you want playback to start, then press the Space bar to play back the multicam clip. • Skim the timeline to the frame where you want to cut and switch to a different angle. 4. In the angle viewer, move the pointer over the angle that you want to switch to. Final Cut Pro User Guide 491 As you move the pointer over the angles in the angle viewer, the pointer changes to the Blade tool, indicating that a cut (and switch) will occur when you click. 5. Do one of the following: • Cut and switch: Click the angle you want to switch to. (Or press any number key to cut and switch to the corresponding angle of the current bank. For example, press 5 to cut and switch to angle 5 of the current bank.) In the timeline, the current multicam clip is cut at the playhead position. The section of the clip to the right of the playhead is replaced with a new instance of the clip, with the angle you clicked as the active angle. A special through edit point appears at the timeline playhead position. See Edit multicam clips. • Switch: Option-click the angle you want to switch to. (Or hold down the Option key and press any number key to switch to the corresponding angle of the current bank. For example, press Option-5 to switch to angle 5 of the current bank.) Note: The pointer changes to a pointing hand icon when you hold down the Option key, indicating a switch-only edit. In the timeline, the multicam clip under the playhead changes to show the angle you switched to as the active angle. The viewer switches to the angle you selected. The active angle is highlighted in yellow, blue, or green, depending on the switch mode you’re using. See Switch video or audio separately, below. Switch video or audio separately By default, Final Cut Pro switches the video and audio of a multicam clip at the same time, but you can set Final Cut Pro to switch the video and audio separately. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). Final Cut Pro User Guide 492 2. To change the switch mode, do one of the following: • Enable video and audio switching: Click the left switch mode button in the top-left corner of the angle viewer. This is the default setting. • Enable video-only switching: Click the middle switch mode button. Only the video switches. The audio from the original angle remains active. • Enable audio-only switching: Click the right switch mode button. Only the audio switches. The video from the original angle remains active. 3. Do one of the following: • Cut and switch: Click an angle in the angle viewer. • Switch: Option-click an angle in the angle viewer. Final Cut Pro User Guide 493 If you selected the video-only or audio-only switch mode, blue highlighting indicates the active video angle and green highlighting indicates the active audio angle. Tip: With audio-only switching enabled, you can add audio components from inactive angles to the active angle or remove audio components from the active angle. Simply Option-Command-click an inactive angle to add its audio to the active angle, or OptionCommand-click an active angle to remove its audio. See Example: Enable or disable audio components in a multicam clip. View and navigate banks of angles Depending on the angle viewer display setting you choose, you can show 2, 4, 9, or 16 angles at once. These sets of angles are known as banks. You use the bank switcher to display and navigate banks of angles in a multicam clip. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. Position the skimmer or the playhead over a multicam clip in the browser or the timeline. Final Cut Pro User Guide 494 The bank switcher appears as a grid of squares at the bottom of the angle viewer. Yellow, blue, or green highlighting indicates the currently active angle. 3. Click the Settings pop-up menu in the top-right corner of the angle viewer and choose the number of angles you want to display in each bank. If the number of angles in your multicam clip exceeds the current angle viewer display setting, Final Cut Pro creates additional banks and displays them as separate grids of squares. Here are a few examples of different angle bank combinations: Three banks of 4 angles each. The last angle in the third bank is the active angle, and the third bank is the currently displayed bank. One bank of 16 angles. The last angle is the active angle. One bank of 9 angles and another bank of 7 angles. The first bank is the currently displayed bank. Final Cut Pro User Guide 495 4. To navigate banks of angles, do any of the following: • Display a bank’s angles in the angle viewer: Click the bank switcher icon for the bank. • Display the previous bank: Press Option-Shift-Semicolon (;). • Display the next bank: Press Option-Shift-Apostrophe (’). Show overlays in the angle viewer For each angle that appears in the angle viewer, you can display video overlays showing timecode and either the clip name or the angle name. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. To choose a display option, do one of the following: • Display timecode for the clips in each angle: Click the Settings pop-up menu in the top-right corner of the angle viewer and choose Timecode. (Choose Timecode again to turn off the timecode display.) • Display the names of the clips in each angle: Click the Settings pop-up menu and choose Display Name > Clip. • Display the name for each angle: Click the Settings pop-up menu and choose Display Name > Angle. • Turn off display names: Click the Settings pop-up menu and choose Display Name > None. Final Cut Pro User Guide 496 Adjust the angle viewer display You can adjust the size of the angle viewer and even display it as a vertical column. In Final Cut Pro, do any of the following: • Adjust the number of angles in the angle viewer: Click the Settings pop-up menu in the top-right corner of the angle viewer, then choose either 2 Angles, 4 Angles, 9 Angles, or 16 Angles. Final Cut Pro User Guide 497 • Adjust the size of the angle viewer and the main viewer: Drag the boundary between them. Final Cut Pro User Guide 498 • Make the angle viewer a vertical column: Drag the boundary to the left, then drag the border between the viewer and the timeline downward to expand the viewer quadrant vertically. (This vertical column view is available only in the 2 Angles and 4 Angles views.) Sync and adjust camera angles in Final Cut Pro You can open multicam clips in the angle editor to adjust the sync and the angle order, set the monitoring angle (the angle you see in the viewer when the multicam clip is playing back in the angle editor), or add or delete angles. You can also edit the individual clips inside a multicam clip (similar to how you can edit the contents of a compound clip). The many changes you can make in the angle editor include basic edits and trimming as well as effects you would normally add in the timeline, such as color corrections and transitions. Note: When you open any multicam clip in the angle editor (whether from the browser or the timeline) you’re actually opening the parent multicam clip. Any changes you make in the angle editor are propagated to all child clips of that multicam clip, in every project. See Create multicam clips. You can’t cut and switch between angles in the angle editor. You also can’t connect clips, solo clips, use the precision editor, perform ripple deletes, or use the Detach Audio and Break Apart Clip Items commands. Tip: Before you edit multicam clips in the angle editor, duplicate them in the browser to maintain clean backup copies. Open a multicam clip in the angle editor In Final Cut Pro, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, and choose Open in Angle Editor. Final Cut Pro User Guide 499 The angle editor opens in the timeline area at the bottom of the Final Cut Pro window. Although similar to the timeline, the angle editor provides a separate interface dedicated to editing angles and clips inside multicam clips. Each angle in the multicam clip appears as a separate row in the angle editor. Set video and audio monitoring in the angle editor In the angle editor, you can set any one angle to be the monitoring angle. This is the angle you see in the viewer when the multicam clip is playing back in the angle editor. You can also monitor the audio of any number of angles at once. You use the monitoring angle to sync angles in the angle editor. The monitoring angle is not the same thing as the active angle (which you see in the timeline). Note: Setting the correct monitoring angle is important for the two sync commands described later in this section: Sync to Monitoring Angle and Sync Angle to Monitoring Angle. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. To set an angle as the monitoring angle, do one of the following: • Click the Video Monitor button at the left side of the angle. • Click the pop-up menu next to the angle name and choose Set Monitoring Angle. • Press Shift-V while skimming the angle. Final Cut Pro User Guide 500 The Video Monitor button becomes highlighted, and the entire angle is highlighted in light gray. The angle plays in the viewer when you play back the multicam clip in the angle editor. Only one angle can be the video monitoring angle at a time. 3. To turn on audio monitoring for an angle, do one of the following: • Click the Audio Monitor button once. (To turn off audio monitoring, click the button again.) • Click the pop-up menu next to the angle name and choose Monitor Audio. (To turn off audio monitoring, choose Monitor Audio again.) • Press Shift-A while skimming the angle. (To turn off audio monitoring, press Shift-A again.) The monitoring settings don’t affect any of your active angles. They simply change what’s playing back in the viewer while you’re working in the angle editor. Final Cut Pro User Guide 501 Tip: You can use audio monitoring to double-check the sync of individual angles in a multicam clip. Open the clip in the angle editor, then turn on audio monitoring for two or more angles at a time. You’ll hear immediately if the angles are in sync or if you need to adjust them further. Manually adjust the sync of a multicam clip A primary function of the angle editor is to provide an easy way to correct out-of-sync angles in your multicam clips. The instructions below describe how to sync angles by locating sync points and then manually dragging the angles into alignment. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. Locate a sync point in one of the out-of-sync angles by skimming the angle in the angle editor. As you skim, the angle is displayed in the left side of the viewer (in place of the angle viewer). The sync points could be video or audio cues (such as a clapboard closing or a door slam). 3. Locate the corresponding sync point in one or more angles that you want to sync to the original angle. To simplify this process, you can add markers at the sync points, to guide you visually and to provide snap points. 4. Drag the clips left or right in the rows of the angle editor so that the sync points align vertically. Final Cut Pro User Guide 502 If an angle contains more than one clip, you can easily select all clips in the angle so that you can move them all at once. To do this, click the pop-up menu next to the angle name and choose Select Clips in Angle. You can then drag the clips left or right to move them all by the same amount. Automatically adjust the sync of a multicam clip The instructions below describe two automatic methods for syncing angles in a multicam clip. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. Final Cut Pro User Guide 503 2. In the out-of-sync angle, click the pop-up menu to the right of the angle name and choose one of the following: • Sync to Monitoring Angle: This option opens a two-up display in the viewer, showing the frame at the skimmer position on the left and the frame at the playhead position of the monitoring angle on the right. In the out-of-sync angle, skim to a frame, then click to sync the angle to the playhead position. All the clips in the angle move together to align the frame you clicked with the playhead. To close the two-up display in the viewer, click Done. • Sync Angle to Monitoring Angle: This option compares the audio waveforms in the selected angle to the waveforms in the monitoring angle, and then moves the clips in the selected angle to sync them with those in the monitoring angle. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. If you select clips in one or more angles before choosing this option, the command name in the pop-up menu changes to Sync Selection to Monitoring Angle. When you choose this option, Final Cut Pro moves all of the selected clips to sync them with those in the monitoring angle. If there’s a selection in the monitoring angle, this option is not available. WARNING: This option does not ripple clips forward. If clips are moved to a timeline location that’s already occupied by existing clips, the moved clips overwrite the existing clips. Note: Some audio recordings are not suited for use with this feature. Choosing this option may result in long processing times during which Final Cut Pro is not available for editing. Adjust the order of angles in a multicam clip You can adjust the order in which angles appear in the angle viewer and the angle editor. Note: If you’ve already started a multicam edit on a multicam clip in the timeline, changing the angle order does not affect which angle is chosen for each cut and switch edit. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. Final Cut Pro User Guide 504 2. Drag the handle at the right side of an angle row to move the angle up or down in the angle order. The angles in the angle editor and the angle viewer change to the new order. Add, delete, or rename angles in a multicam clip 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. Do any of the following: • Delete an angle: Click the pop-up menu to the right of the angle name and choose Delete Angle. The angle is removed from the angle editor, the angle viewer, and all child clips of the multicam clip. Important: Deleting an active angle affects the edits in your projects. The deleted angle is replaced with black filler in all projects. • Add an angle: Click the pop-up menu to the right of the angle name and choose Add Angle. A new, empty angle appears in the angle editor and the angle viewer. • Rename an angle: At the left side of the angle editor, click the name of the angle you want to rename. When the text becomes highlighted, type the new name. The new name appears in the angle editor and (if overlays are turned on) in the angle viewer. You can also copy and paste clips in the angle editor. Clips are pasted sequentially as overwrite edits, and in the monitoring angle only. To close the angle editor and return to the timeline, choose View > Timeline History Back, or press Command-Left Bracket ([). Final Cut Pro User Guide 505 Edit multicam clips in Final Cut Pro You can switch multicam clip angles directly in the timeline or the Info inspector, without having to open the angle viewer. Multicam clips generally function just like standard clips in the timeline. You can add video and audio effects, transitions, and markers; attach connected clips; and apply retiming effects. You can apply split edits to multicam clips and edit them in the precision editor. You can nest multicam clips in compound clips and storylines. However, multicam clips do have some unique characteristics in the Final Cut Pro timeline: • You can display the names of the active video angle and the active audio angle in the multicam clip. • Cut and switch edit points appear as dotted lines. These are through edits (in which the video or audio content on either side of the edit point is continuous). In the case of multicam editing, through edits indicate that the content on either side of the edit point comes from the same multicam clip. A gray dotted line indicates that different angles from the same multicam clip are on either side of the edit point. A white dotted line indicates that the same angle is on either side of the edit point. Final Cut Pro User Guide 506 In the case of video-only or audio-only cuts and switches, the edit point can be mixed (with both gray and white dotted lines). For example, when you cut and switch video only, you see a gray dotted line for the video and a white dotted line for the audio. • When you move the pointer over a multicam through edit, the pointer changes to the Trim tool, indicating that the edit will be a roll edit (because any other type of edit breaks the relationship between the clips on either side of the cut and switch edit point in the timeline). • Many edits (such as split edits, markers, connected clips, and retiming effects) remain in place on a multicam clip in the timeline even after you switch the angle. However, the following editing operations are associated directly with the specific angle and are not retained when you switch angles: • Video and audio effects • Keyframing (including audio volume and panning) • Role assignments Switch angles in the timeline 1. In the Final Cut Pro timeline, Control-click the multicam clip you want to switch. 2. Do one of the following: • Switch the video angle: Choose Active Video Angle, then choose the angle you want to switch to. • Switch the audio angle: Choose Active Audio Angle, then choose the angle you want to switch to. The clip switches to the video or audio angle you chose. Final Cut Pro User Guide 507 Switch angles in the inspector Switching angles in the inspector allows you to switch angles for multiple selected multicam clips at once. 1. In Final Cut Pro, select one or more multicam clips that you want to switch. 2. Open the Info inspector. 3. In the Info inspector, do one of the following: • Switch the video angle: Click the Active Video Angle pop-up menu, then choose the angle you want to switch to. • Switch the audio angle: Click the Active Audio Angle pop-up menu, then choose the angle you want to switch to. Display the names of active angles in the timeline You can display the names of the active video angle and the active audio angle in a multicam clip in the timeline, in the following format: V: video angle name | A: audio angle name. 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. 2. Select the Angles checkbox. Remove multicam through edit points In Final Cut Pro, do any of the following: • Remove an individual multicam through edit: Select it and press Delete. • Remove multiple through edits at once: Select the edit points (or select the clips on both sides of the through edits), then choose Trim > Join Clips. Multicam editing tips in Final Cut Pro The following tips can help you streamline your Final Cut Pro multicam workflow: • Set the date, the time, and the time zone on your camcorder or recording device before you shoot footage for your multicam project. This provides useful information to Final Cut Pro during the automatic multicam clip creation process (see Create multicam clips). Note: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips, then choose Modify > Adjust Content Created Date and Time. Final Cut Pro User Guide 508 • Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam sync accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) • Before you edit multicam clips in the angle editor, duplicate them in the browser to maintain clean backup copies. • To double-check the sync of individual angles in a multicam clip, open the clip in the angle editor and turn on audio monitoring for two or more angles at a time. You’ll hear immediately if the angles are in sync or if you need to adjust them further. • If performance becomes an issue while you’re working on a multicam project, do any of the following: • Set Final Cut Pro to use proxy media by choosing Proxy in the Media section of the View pop-up menu (in the top-right corner of the viewer). Proxy playback allows you to play back more angles at a time. To use proxy playback, you must have proxy versions of your media available, or you must create proxy versions. See Create optimized and proxy files. • Make sure that “Create optimized media for multicam clips” is selected in Playback preferences. This option transcodes video to the Apple ProRes 422 codec format, which provides better performance during multicam editing. This option is turned on by default. If the original camera format can be edited with good performance, you can deselect this checkbox. • Make sure that the disk holding your multicam source clips is fast enough to play back all of your media at once. To check disk performance, choose Final Cut Pro > Preferences, click Playback, then select “If frames drop due to disk performance, warn after playback.” To find out whether something else is causing playback issues, select “If a frame drops, stop playback and warn.” • You can include audio from multiple angles, even after you’ve finished cutting and switching your multicam program. Select the multicam clip in the timeline and, in the Audio inspector, select the checkboxes to enable the audio components for the other angles in the multicam clip. With the timeline clip still selected, choose Clip > Expand Audio Components (or press Control-Option-S) to show the components in the timeline. Then select the individual audio components in the timeline and adjust the levels as needed. See Configure audio channels, Manage role components in multicam clips, and Show expanded audio components. • You can use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle. Add storylines in Final Cut Pro Storylines are sequences of clips connected to the primary storyline (the main sequence of clips in the timeline). Storylines combine the convenience of connected clips with the precision editing capabilities of the primary storyline. Final Cut Pro User Guide 509 You can use storylines for the same purposes as connected clips—for example, creating cutaways, compositing titles and other graphics, and adding sound effects and music. The unique advantage of storylines is the ability to edit a sequence of connected clips within the context of the other clips in the timeline. For example, you can add cross dissolve transitions to a series of superimposed titles in a storyline and then adjust the timing of the titles to match clips in the primary storyline. Like connected clips, storylines can contain both video and audio, or they can be video only or audio only. For more information about connected clips, see Connect clips. You edit storylines using the same methods you use to edit the primary storyline. You can: • Add clips: Drag clips to the storyline to add them, or use a standard append edit, insert edit, replace edit, or overwrite edit. • Add transitions, titles, effects, and generators: Add effects to a storyline by dragging them or by using any of the standard commands and keyboard shortcuts. Note: When you apply a transition to a clip connected to the primary storyline, a storyline is automatically created for that clip. • Trim clips: Use any of the standard trim edits in a storyline, including ripple edits, roll edits, slip edits, and slide edits. You can also trim or move clips within storylines by entering timecode values. • Create split edits: Set separate video and audio start and end points in an individual clip to create split edits (L-cuts and J-cuts) in a storyline. Create or break apart storylines You can quickly create storylines from existing connected clips. Final Cut Pro User Guide 510 1. In the Final Cut Pro timeline, select two or more connected clips. 2. Choose Clip > Create Storyline (or press Command-G). A gray border appears around the clips, indicating a storyline. Note: If the original connected clips are not contiguous, Final Cut Pro inserts a gap clip to fill the space between the clips. You can also create a storyline by holding down the G key as you drag a clip to a connected clip so that their edges touch: Final Cut Pro User Guide 511 3. To convert a storyline back to its component clips, do one of the following: • Select the storyline (by clicking the gray border), then choose Clip > Break Apart Clip Items (or press Shift-Command-G). • Drag the storyline into the primary storyline. Select and move storylines You can select or move entire storylines as if they were standard clips or compound clips. Storylines have the connection properties of connected clips. In the Final Cut Pro timeline, do any of the following: • Select a single storyline: Click the gray border at the top of the storyline. • Drag to select one or more storylines: Drag a selection rectangle over the storylines you want to select, making sure to drag over the gray border at the top of a storyline first (if you don’t drag over the top gray border first, you will select individual clips in the storyline instead). When a storyline is selected, the entire storyline is outlined with a yellow border. Tip: To select entire storylines, drag in a downward motion. To select clips within the storylines, drag in an upward motion. • Move a storyline by dragging it: Click the gray border at the top of the storyline, then drag the storyline left or right to connect it to a different point along the primary storyline. • Move a storyline with timecode values or keyboard shortcuts: Use the same techniques you would use with standard clips. See Arrange clips in the timeline. Final Cut Pro User Guide 512 Use the precision editor in Final Cut Pro You can fine-tune the edit point between two clips in the timeline using the precision editor, which provides an expanded view of the clips on either side of the edit point as well as the unused portions of each clip. You can trim or extend the end of one clip and the beginning of the next, either separately or together. As you make changes, you can instantly see how your edits affect the cut or transition from one clip to the next. You can also see a “two-up” display in the viewer as you trim edit points in the timeline. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose either the Select tool or the Trim tool . 2. Double-click the edit point you want to trim in the timeline. The precision editor appears, presenting an expanded view of your outgoing and incoming shots. The edit point is represented by a vertical line in the center of the precision editor. The outgoing clip and the clips before it appear in the top part of the storyline. The incoming clip and the clips after it appear in the bottom part. Final Cut Pro User Guide 513 The dimmed portions of clips to the right and left of the edit line are the unused portions of media that are available for trimming (called media handles). You can skim over these areas to view and play back the media as you decide where to trim. 3. To adjust the edit point, do any of the following: • Move the edit line in the center of the precision editor by dragging its handle left or right. Moving the entire edit line performs a roll edit. Final Cut Pro User Guide 514 • Drag the end point of the outgoing clip or the start point of the incoming clip. This performs a ripple edit. Note: You can drag the edit line or individual edit points to the extent that there are media handles available. When you extend a clip to its maximum length in either direction, the clip edge turns red. • Skim over and click the outgoing clip or the incoming clip at any point. Final Cut Pro User Guide 515 The clip’s edit point is adjusted to the frame you click. This is the equivalent of a ripple edit. You can also enter a timecode value to adjust the edit point numerically. If you select either the end point of the outgoing clip or the start point of the incoming clip, a ripple edit is performed. Otherwise, a roll edit is performed. 4. To navigate to another edit point, do one of the following: • Go directly to an edit point: Click the other edit point. • Go to the next or previous edit point: Press the Up Arrow or Down Arrow key. 5. To close the precision editor, double-click the current edit point, or press the Esc (Escape) key. Try out clips using auditions Intro to auditions in Final Cut Pro In Final Cut Pro, you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Final Cut Pro User Guide 516 An audition’s filmstrip displays the currently selected clip, called the pick. All other clips in the audition are referred to as alternates. You can open an audition to see the selected clip and the alternates. Auditions allow you to preserve your alternative edits without affecting the other clips in the timeline. When you’re not reviewing the clips in an audition, the audition functions like an individual clip. You can trim an audition, apply transitions between auditions and other clips, and add keywords and markers. After you’ve reviewed the clips in the audition and decided which one works best in your project, you can finalize the audition, which dissolves it and leaves the pick as an individual clip in the timeline. The pick retains the audition’s position in the timeline and all keywords and markers applied to the audition. Note: Auditions appear in the browser and the timeline as clips with an audition icon in the top-left corner. Create auditions in Final Cut Pro You can create auditions in the browser and then add them to the timeline, or you can create auditions directly in the timeline. When you create auditions in the timeline, you can either group related clips or group multiple versions of the same clip (for example, to try out multiple effect treatments or lower-third titles). Create auditions in the browser 1. In Final Cut Pro, select the clips you want to include in the audition. 2. Choose Clip > Audition > Create (or press Command-Y). Final Cut Pro User Guide 517 Create auditions in the timeline In Final Cut Pro, do any of the following: • Create an audition with related clips: Drag a clip or a group of clips from the browser onto a clip in the timeline, then choose an audition option from the menu that appears. Choosing Add to Audition creates an audition with the current timeline clip as the pick. Choosing Replace and Add to Audition makes the clip you’re dragging the pick. Important: If a transition is applied to the current clip in the timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. • Create an audition with a duplicate version of a clip, including applied effects: Select a clip in the timeline, then choose Clip > Audition > Duplicate as Audition. An audition is created containing the selected clip and a duplicate version that includes any effects applied to the original. • Create an audition with a duplicate version of a clip, without applied effects: Select a clip in the timeline, then choose Clip > Audition > Duplicate from Original (or press Shift-Command-Y). An audition is created containing the selected clip and a duplicate version without any applied effects. Open an audition After you create an audition, you can open it and review its contents. In Final Cut Pro, do one of the following: • Choose Clip > Audition > Open (or press Y). • Click the audition icon. The Audition window appears, and you can preview your clips to choose a pick. Break apart an audition You can break apart an audition to convert its contents to individual clips in the timeline. (This option is not available for auditions in the browser.) 1. Select an audition in the Final Cut Pro timeline. 2. Choose Clip > Break Apart Clip Items (or press Shift-Command-G). The audition selected in the timeline is replaced with the individual items that made up the audition. Final Cut Pro User Guide 518 You can also break apart compound clips, storylines, and standard clips. See Create compound clips and Add storylines. Add clips to auditions in Final Cut Pro When building auditions to try out different clips or versions of a clip with different effects, you can add and remove clips at any time. In the browser and the timeline, you can add new clips to the audition as well as duplicate clips within an audition. When an audition in the timeline contains the clips you want to try out, you can use the audition to preview the clips or effects in your project. Add clips to an audition in the browser In Final Cut Pro, do any of the following: • Add new clips to an audition in the browser: Select the audition and the clips you want to add to it, then choose Clip > Audition > Create (or press Command-Y). • Duplicate a clip within an audition in the browser: Click the icon in the top-left corner of the audition to open the Audition window, select the clip you want to duplicate, then click Duplicate. A new version of the selected clip appears in the Audition window. Add clips to an audition in the timeline In Final Cut Pro, do any of the following: • Add a new clip to an audition and maintain the current clip in the timeline as the pick: Drag a clip from the browser to the audition in the timeline, then choose Add to Audition. Final Cut Pro User Guide 519 • Add a new clip to an audition and make the clip you’re adding the pick: Drag a clip from the browser to the audition in the timeline, then choose Replace and Add to Audition. Important: If a transition is applied to the current clip in the timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. • Duplicate a clip within an audition: Click the audition icon in the top-left corner of the audition to open the Audition window, select the clip you want to duplicate, then click Duplicate (or press Shift-Command-Y). A new version of the selected clip appears in the Audition window. Remove a clip from an audition 1. In Final Cut Pro, open the audition containing the clip you want to remove by clicking the icon in the top-left corner. 2. In the Audition window, select the clip you want to remove, then press Delete. The clip is removed from the audition. Review clips in auditions in Final Cut Pro You create an audition to try out the clips within it and find the one that works best for your project. Although the audition workflow may differ from project to project, the general process is the same: You create an audition that contains a set of alternative takes, effects, or text treatments, and then you choose the best clip for the edit by making it the pick. When you’re sure of your decision, you finalize the audition, which dissolves it and leaves the pick in the timeline. Depending on your workflow, you may try out the clips within your auditions and flatten the auditions as you go, or you may leave the auditions in the timeline. Note: You can use audition commands with only one selected audition at a time. For example, you can’t finalize multiple selected auditions. Final Cut Pro User Guide 520 Review clips within an audition in the timeline 1. In the Final Cut Pro timeline, select the audition containing the clips you want to review, then open it by choosing Clip > Audition > Open (or pressing Y). 2. In the Audition window, select the pick and press the Space bar (or press ControlCommand-Y) to play it. 3. To play an alternate clip in the viewer, select a clip to the right or left of the pick (or press the Right Arrow or Left Arrow key). Tip: To quickly move through and play alternate clips, select a closed audition in the timeline, press the Space bar, then press Control-Left Arrow to play clips to the left of the current pick, or Control-Right Arrow to play clips to the right. 4. When you decide on the clip you want to use, make sure it’s selected, then click Done. Final Cut Pro User Guide 521 5. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the pick in the timeline. The clip selected as the pick retains any keywords or markers assigned to the audition. Try out multiple effects on a clip in the timeline You can try out effects on a clip in the timeline by creating an audition and adding individual effects to duplicates of the same clip. This technique allows you to view each effect in relation to the clips that precede and follow the audition in the timeline. 1. In the Final Cut Pro timeline, select the clip you want to try different effects on. 2. Choose Clip > Audition > Duplicate as Audition (or press Option-Y). 3. Repeat step 2 for each effect that you want to try out. 4. To open the Audition window, click the icon in the top-left corner of the audition (or press Y). 5. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 6. In the Audition window, select the version of the clip you want to apply the effect to. 7. In the Effects browser, select the effect you want to try out, then drag it to the clip in the Audition window. 8. Repeat steps 6 and 7 until you’ve applied all the effects you want to try out. Final Cut Pro User Guide 522 9. To review the effects, select clips in the Audition window (you can select the clip to the right or left of the pick). Tip: To quickly move through alternate clips, press Control-Option-Left Arrow to move your selection left, or Control-Option-Right Arrow to move your selection right. 10. When you decide on the effect you want to use, select the clip with that effect in the Audition window and click Done. 11. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the clip with your chosen effect in the timeline. Tip: To have Final Cut Pro duplicate a clip in the audition and apply an effect to the duplicated clip, hold down the Control key while you drag an effect from the Effects browser to the audition in the timeline. You can also apply an effect to every clip in an audition by holding down the Option key and the Control key while you drag the effect to the audition. In both cases, you must start dragging the effect from the Effects browser and then press the keys as you add the effect to the clip. Final Cut Pro User Guide 523 Retime clips to create speed effects Intro to retiming clips in Final Cut Pro You can adjust a clip’s speed settings to create fast-motion or slow-motion effects. You can also reverse a clip, rewind a segment of a clip, apply variable speed effects (also called speed ramping) to a clip selection, and create instant replays and jump cuts. By default, Final Cut Pro maintains the audio pitch of any speed adjustment, but you can turn off this feature to accentuate the speed effect. You can’t apply speed changes to still images, generators, titles, and themes in Final Cut Pro. Change clip speed in Final Cut Pro In Final Cut Pro, you can make both constant and variable speed changes to your clips while preserving the audio’s pitch. Note: Speed settings are applied to the specific instance of the selected clip only. They are not applied to that clip’s source media file on your Mac or storage device. To create a media file with the applied speed effects, export the clip as a QuickTime movie. See Export final mastering files. Apply a constant speed change Applying a constant speed change to a range selection or a whole clip alters the selection’s playback speed by a uniform percentage. For example, applying a speed setting of 25 percent to the selection makes the entire selection play in slow motion. Final Cut Pro User Guide 524 Constant speed changes usually alter the duration of a clip. By default, if a constant speed change causes the duration of a clip to become longer or shorter, all clips coming after it ripple forward or backward. If you change the speed to 50 percent, your clip becomes twice as long, and subsequent clips are moved to the right; if you change the speed to 200 percent, the clip becomes half as long, and subsequent clips ripple left. For example, if you set a 5-second clip to play back at 50 percent speed, Final Cut Pro adds frames to the clip so that the clip becomes 10 seconds long and plays back more slowly. If you increase the clip’s speed to 200 percent, Final Cut Pro removes frames and the clip plays back in only 2.5 seconds. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Do one of the following: • Apply a preset speed setting: Click the Retime pop-up menu below the viewer and choose Slow or Fast, then choose a speed from the submenu. Final Cut Pro User Guide 525 • Apply a manual speed setting: Click the Retime pop-up menu and choose Show Retime Editor (or press Command-R) to display the retime editor above the selection in the timeline, then drag the retiming handle. If you drag the retiming handle to the right, the speed of the selection decreases, the duration of the selection increases, and the bar above the timeline selection turns orange. If you drag the retiming handle to the left, the speed of the selection increases, the duration of the selection decreases, and the bar above the timeline selection turns blue. • Apply a custom speed setting: Click the Retime pop-up menu and choose Custom. In the Custom Speed window that appears, select a direction (forward or reverse), then select either Rate or Duration and enter a speed percentage or duration. If you want to allow subsequent clips in the timeline to move earlier or later as a result of the speed change, leave the Ripple checkbox selected. To prevent subsequent clips from moving, deselect the checkbox. Apply a constant speed change without rippling the sequence You can also create speed changes that don’t cause the downstream clips to ripple. In this case, if you slow down a clip (which ordinarily makes the clip longer), the clip remains at its current length but a shorter piece of the action is seen. For example, if you slow down a 5-second shot of a football being thrown and caught to 50 percent, you see the ball being thrown (slowly), but because the action now takes twice as long, the clip ends before the ball is caught. Note: If there’s a gap to the right of a clip that’s being slowed down, the clip’s duration is lengthened to cover the gap. When a clip is sped up, the duration of the clip is shortened and a gap fills the space between the changed clip and the remainder of the project. Final Cut Pro User Guide 526 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Click the Retime pop-up menu below the viewer and choose Custom. 3. Select a direction (Forward or Reverse), deselect the Ripple checkbox, then type a percentage in the Rate field. 4. Press Return. The speed effect is applied to the clip, and the rest of the project remains in place. Turn off Preserve Pitch for retimed clips By default, Final Cut Pro is set to preserve the audio pitch of a clip that has been retimed. However, if you want to accentuate the retiming adjustment’s effect by allowing the pitch to change in accordance with the retiming adjustment, you can turn this feature off. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Apply the speed change. 3. Click the Retime pop-up menu below the viewer and choose Preserve Pitch. Choose Preserve Pitch again to turn it back on. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. Final Cut Pro User Guide 527 Create speed effects by maintaining a clip’s original frame rate If you’ve applied speed effects using your camera (for example, by shooting with a high frame rate), the native speed of the source media may not match the native speed of the source media for the rest of the clips in your project in the timeline. If you shoot video at a different frame rate to create a speed effect, you can use the Automatic Speed option to maintain the clip’s original frame rate. For example, suppose you shoot a scene at 120 fps and then add the shot to a 30 fps project. If you apply Automatic Speed to that clip, every frame in the original clip plays back at the project’s frame rate of 30 fps, so the action takes longer and a slow-motion effect is created. You can use this method to create high-quality speed effects, because every frame in the original clip is played back—no frames are skipped or duplicated. 1. In the Final Cut Pro timeline, select the clip whose original frame rate you want to maintain. 2. Click the Retime pop-up menu below the viewer and choose Automatic Speed. Smooth out a slow-motion clip with video quality presets To smooth out the apparent motion of a clip playing back in slow motion, you can apply frame blending or optical flow analysis to the retimed clip. Note: Final Cut Pro 10.2 or later uses an advanced optical flow algorithm that can accommodate a wide range of source footage. Any new projects created with Final Cut Pro 10.2 or later will benefit from these improvements (if they include an optical flow video quality setting). If you have projects created in earlier versions of Final Cut Pro that have optical flow settings, you can reanalyze them for improved quality by choosing Optical Flow in step 2 below. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips set to play in slow motion. 2. Click the Retime pop-up menu below the viewer and choose Video Quality, then choose a setting from the submenu. • Normal: The default setting. Frames are duplicated, and no frame blending is applied to the slow-motion clip. No rendering is required. • Frame Blending: Adds in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Normal (duplication) setting. Rendering is required. Final Cut Pro User Guide 528 • Optical Flow: Adds in-between frames using an optical flow algorithm, which analyzes the clip to determine the directional movement of pixels and then draws portions of the new frames based on the optical flow analysis. Rendering is required. Only the portion of the clip used in the project (the media between the clip start and end points) is analyzed. Tip: Before using Optical Flow, try using Frame Blending and experiment with various slow-motion settings until you’re satisfied with the speed. Then, if you see artifacts or want the very best image quality, try using Optical Flow. Create variable speed effects in Final Cut Pro In addition to constant speed changes, you can create variable speed effects in which the playback speed of a clip changes dynamically. For example, a clip might start in slow motion, speed up to fast motion, and then slow back down to regular speed. You create variable speed changes by identifying ranges of a clip as speed segments—sections in a clip that have different playback speeds. Each speed segment has its own constant speed setting. You can set speed segments to any speed value, forward or backward, and you can create abrupt shifts between speed segments, or gradual transitions (also called ramps). Note: You can’t create smooth transitions between a speed segment set to a forward speed and a speed segment set to reverse speed (and vice versa). Apply a preset variable speed change You can apply preset variable speed effects that break your clip into multiple speed segments automatically. 1. In the Final Cut Pro timeline, select either a range within a clip or a whole clip to which you want to apply a speed ramp effect. 2. Do one of the following: • Ramp the speed down: Click the Retime pop-up menu below the viewer and choose Speed Ramp > to 0%. • Ramp the speed up: Click the Retime pop-up menu and choose Speed Ramp > from 0%. Final Cut Pro User Guide 529 The selection is segmented into four parts with different speed percentages, creating the ramp effect. To adjust the speed of any segment, drag its retiming handle. You can modify the transitions between segments to control how fast each segment transitions to the next. See Add speed transitions. Change the end frame of a speed segment You can change the end frame of a speed segment in the timeline. When you drag the retiming handle of a speed segment, you’re adjusting the speed of the segment, not trimming it. The Source Frame Edit button allows you to trim the end point (end frame) of a segment. 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Show Retime Editor (or press Command-R). 3. In the retime editor in the timeline, double-click the transition between two speed segments. 4. In the Speed Transition window, click the Source Frame Edit button. A filmstrip icon appears over the end frame of the speed segment. 5. To change the end frame, drag the filmstrip icon left or right. As you drag, the viewer displays the current end frame. Final Cut Pro User Guide 530 Create custom variable speed changes You can manually divide a clip into segments and assign each segment its own speed setting. 1. In the Final Cut Pro timeline, position the playhead or the skimmer at the frame where you want to begin a new speed segment. 2. Click the Retime pop-up menu below the viewer and choose Blade Speed (or press Shift-B). The retime editor appears above the clip (If it wasn’t already shown), and the clip is divided into two speed segments. 3. To set the speed for the newly created segments, do one of the following: • Double-click the retime editor above one of the speed segments. Then, in the Custom Speed window, set a new speed by selecting either Rate or Duration and entering a speed percentage or a duration. Click anywhere outside the Custom Speed window to close it. • Drag the right edge of a speed segment in the retime editor. 4. To create and modify additional speed segments, repeat steps 1 to 3. You can modify the transitions between segments to create smooth adjustments from one speed to another. See Add speed transitions. Add speed transitions in Final Cut Pro When two adjacent speed segments are set to play at different speeds, you can control how smoothly the video switches between playback speeds. When there’s no transition between the segments, playback shifts suddenly from one speed to another. By adding a transition between the segments, you can create a more gradual, or ramped, effect. You can also control how quickly that transition takes place. Final Cut Pro User Guide 531 When you apply effects that create speed segments in a clip (such as Speed Ramp, Instant Replay, and Hold), transitions are automatically added between the newly created segments. A transition appears as a shaded bar on either side of the border between speed segments. When you create speed segments manually, you can add speed transitions individually, or you can add them to all the speed segments in a clip at once. Note: You can’t add transitions between forward-playing segments and reverse-playing segments (or vice versa). Add transitions between all speed segments in a clip 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that there’s a checkmark next to the menu item. Transitions are added to the boundaries between speed segments. Final Cut Pro User Guide 532 Remove transitions from all speed segments in a clip 1. In the Final Cut Pro timeline, select a clip that has speed transitions. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that the checkmark next to the menu item is removed. Speed transitions are removed from all speed segments in the clip. Remove individual speed transitions To add transitions between some speed segments in a clip and not others, you must turn on Speed Transitions in the Retime pop-up menu and then remove the transitions you don’t want. 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that there’s a checkmark next to the menu item. Speed transitions are added to all speed segments in the clip. Final Cut Pro User Guide 533 3. To remove a transition between speed segments, double-click the last frame of the outgoing speed segment in the retime editor. 4. Deselect the Speed Transition checkbox in the Speed Transition window, then click anywhere outside the window to dismiss it. The transition is removed. Change the duration of a speed transition After a speed transition is applied, you can change its duration. The shorter the transition, the more quickly the speed ramps from one value to another. The longer the transition, the slower the ramp. 1. In the Final Cut Pro timeline, select a clip that has a speed transition. 2. If the retime editor isn’t shown, click the Retime pop-up menu below the viewer and choose Show Retime Editor (or press Command-R). 3. Drag the left or right edge of the transition bar in the retime editor. Final Cut Pro User Guide 534 Reverse or rewind clips in Final Cut Pro In addition to changing the speed of a clip in Final Cut Pro, you can also add directional effects: • Reverse: Reverses the order of frames in the clip, so that the last frame plays first. • Rewind: Appends a duplicate of a range selection or clip as a segment, rewinds the duplicated segment at 1x, 2x, or 4x speed, and then plays the original clip segment again in forward motion at normal speed. Reverse a clip 1. In the Final Cut Pro timeline, select a clip or a group of clips whose contents you want to reverse. 2. Click the Retime pop-up menu below the viewer and choose Reverse Clip. The green bar with arrows pointing to the left above the selection in the timeline indicates that the clip is reversed. 3. If you want to adjust the speed of the reversed clip, drag the retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the reversed clip or selection. Rewind a range selection or clip 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose contents you want to rewind. 2. Click the Retime pop-up menu below the viewer and choose Rewind, then choose a speed from the submenu. The selection is duplicated, added to the end of the original selection, and then reversed at the speed you chose. An additional duplicate of the timeline selection follows the reversed section and plays back in forward motion at the selection’s original speed. Final Cut Pro User Guide 535 3. If you want to adjust the speed of the rewound section or the section before or after the rewound section, drag the section’s retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the rewound clip or selection. Create instant replays in Final Cut Pro You can apply an instant replay to a range selection within a clip or to a whole clip. Final Cut Pro duplicates the range or clip, appending the duplicated frames to the end of the selection as a new segment. You can then modify the speed of the new segment to achieve the instant replay effect you’re looking for. 1. In the Final Cut Pro timeline, select a range or a whole clip whose contents you want to use to create an instant replay. 2. Click the Retime pop-up menu below the viewer, choose Instant Replay, and choose a clip speed from the submenu. A duplicate of the range or clip is appended to the end of the selection and plays back in forward motion at the speed you chose, and an “Instant Replay” title appears in the upper-right corner of the frame. For information about adjusting the title, see Adjust titles. Final Cut Pro User Guide 536 3. If you want to adjust the speed of the instant replay segment, drag its retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the original selection and the instant replay segment. Speed up a clip with jump cuts in Final Cut Pro To compress time in a long clip without playing the clip at fast speed, you can create jump cuts to periodically skip over a specific number of frames. For example, if you have a 10-second shot of a person walking down a hallway, rather than playing the entire 10 seconds, you can create jump cuts every 2 seconds that skip 30 frames each, so the action happens in a fraction of the time. 1. In the Final Cut Pro timeline, select the clip that you want to speed up, then add a marker at each frame where you want a jump cut to occur. 2. Click the Retime pop-up menu below the viewer and choose Jump Cut at Markers, then choose a number of frames from the submenu. Final Cut Pro User Guide 537 You can skip 3, 5, 10, 20, or 30 frames. Create hold segments in Final Cut Pro In Final Cut Pro, you can hold on a particular frame to create a still image, temporarily stopping the action onscreen. This is called a hold segment. By default, a hold segment is added as a 2-second still frame at the location of the skimmer or playhead, but you can change the duration. Alternatively, you can create separate freeze-frame clips in Final Cut Pro. One key difference between freeze frames and hold segments is that hold segments remain part of the original clip, and you can adjust their duration within the clip. On the other hand, freeze-frame clips are simple and quick to create, and you can move them around in your projects easily. See Create freeze frames. Important: Adding a hold segment to a clip increases its duration. 1. In the Final Cut Pro timeline, do one of the following: • Click the clip with the frame you want to hold, then move the skimmer or playhead to that frame. • Select ranges within a clip in the timeline. 2. Click the Retime pop-up menu below the viewer and choose Hold (or press Shift-H). If you selected a clip, a 2-second hold segment is added to the clip at the position of the skimmer or the playhead. If you selected a range, a hold segment is created for the duration of the range. The frame used as the still frame is the first (leftmost) frame in the range. Final Cut Pro User Guide 538 3. If you want to adjust the duration of the hold segment, drag the segment’s retiming handle. Dragging to the right increases the duration, and dragging to the left decreases it. 4. To see the effect of the hold segment, play back the clip in the timeline. Note: You can also create a still-image file from a video frame in your project or from a clip in the browser. For example, you may want to email someone a JPEG image showing a specific moment in your project. See Export still images. Reset speed changes in Final Cut Pro You can reset a range selection or a clip to play back at normal (100 percent) speed. Resetting the speed also removes any directional effects (reverse and rewind) and hold segments applied to the selection. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to reset. 2. Click the Retime pop-up menu below the viewer and choose Normal 100% (or press Shift-N). Conform frame sizes and rates in Final Cut Pro Final Cut Pro manages project settings automatically. This means you can work with multiple media types with differing frame sizes (also referred to as resolution) and frame rates in the same project. When you add the first video clip to your project, Final Cut Pro automatically sets the format, frame size, and frame rate for the entire project based on the properties of that first clip (or, more precisely, on the properties of the clip’s source media file). You can modify the project’s settings at any time, and you can control, on a clip-by-clip basis, how Final Cut Pro conforms an individual clip’s frame rate and frame size to match the project settings. All of the project information in this section applies equally to compound clips, which can have their own distinct project settings. Final Cut Pro User Guide 539 You can add interlaced clips to progressive (non-interlaced) projects and progressive clips to interlaced projects. To add an interlaced clip to a progressive project, see the instructions below. Final Cut Pro accepts progressive clips in interlaced projects automatically. Here are things to keep in mind when working with multiple formats and frame sizes: • Choose video and audio project properties based on how you intend to share your final movie with your audience. For example, if you’re editing a project with mixed-format media and you intend to share it as 1080p HD, you should set your project’s video properties to 1080p HD. • If you’re unsure of the final distribution format, the most important decision you can make before creating your project is choosing your project’s frame rate. It’s easy to change the format and the frame size of your project, but changing the frame rate can cause all the edit points in your project to shift in time. • If you have a clip that matches the video and audio properties of the format in which you intend to share your project, add this clip to your project first. Final Cut Pro automatically creates matching project settings. This saves you from having to change your project settings later. Tip: If the first clip you add to a project is an audio clip or a still-image clip, Final Cut Pro prompts you to choose the video properties for your project. Cancel the edit, add a video clip whose source media file has the video properties you require for your project, and then add the audio or still-image clip to your project. Choose a method of conforming frame size You can choose how Final Cut Pro modifies the frame size of a clip to match the project’s frame size settings. For example, you can have Final Cut Pro change the frame size of the clip to fit within the longest dimension of the project’s frame dimensions, fill the entire frame of the project (which usually results in cropping), or leave the clip’s frame size as is. 1. Open a project in the Final Cut Pro timeline, then add a clip whose frame size (resolution) is different from the project’s frame size. For information about adding clips to the timeline, see Intro to adding clips. 2. Select the clip in the timeline. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. Final Cut Pro User Guide 540 5. Click the Type pop-up menu in the Spatial Conform section of the Video inspector, then choose a method of conforming frame size. Note: If the clip you selected has the same frame size (resolution) as the project, the Spatial Conform section does not appear. • Fit: The default setting. Fits the clip within the project’s frame size without cropping the clip’s video. Black bars appear on the sides of the frames that don’t match the project’s frame size. In the case of a standard-definition (SD) clip in a high-definition (HD) project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. • Fill: Makes the clip’s video fill the project’s frame size. In the case of an SD clip in an HD project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. In both cases, cropping occurs along the clip’s longer dimension to allow the shorter dimension to fill the screen. • None: Leaves the clip’s frame size unchanged. If the clip’s frame size is larger than the project’s frame size, the clip appears cropped. If the clip’s frame size is smaller than the project’s frame size, black bars surround the clip. Choose a method of conforming frame rate When a clip’s frame rate differs from the project’s frame rate, Final Cut Pro employs a frame-sampling method to change the clip’s frame rate to match that of the project. You can choose which frame-sampling method Final Cut Pro uses to modify the clip’s frame rate. The method you choose depends on how important it is to eliminate visual stuttering and artifacts. 1. Open a project in the Final Cut Pro timeline, then add a clip whose frame size (resolution) is different from the project’s frame size. For information about adding clips to the timeline, see Intro to adding clips. 2. Select the clip in the timeline. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 541 4. Click the Video button at the top of the inspector. 5. Click the Frame Sampling pop-up menu in the Rate Conform section of the Video inspector, then choose a method of conforming frame rate. Note: If the selected clip has the same frame rate as the project, the Rate Conform section doesn’t appear in the Video inspector. • Floor: The default setting. Final Cut Pro rounds down to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. • Nearest Neighbor: Final Cut Pro rounds to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. This setting reduces artifacts at the expense of visual stuttering. Rendering is required. • Frame Blending: Creates in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Floor or Nearest Neighbor setting. This setting provides better reduction of visual stuttering, but you may see some visual artifacts. Rendering is required. • Optical Flow: A type of frame blending that uses an optical flow algorithm to create new in-between frames. Final Cut Pro analyzes the clip to determine the directional movement of pixels and then draws portions of the new frames based on the optical flow analysis. This setting usually provides the greatest reduction in visual stuttering and artifacts. Rendering is required, and takes longer than for the other framesampling methods. Add an interlaced clip to a non-interlaced (progressive) project Some video formats use an interlaced scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. If you want to add an interlaced clip to a progressive project, you can have Final Cut Pro deinterlace the clip so that it plays at full resolution, free of the alternating jagged lines associated with interlaced clips in progressive projects. 1. In Final Cut Pro, do one of the following: • In the browser, select the interlaced clips you want to add to a progressive project. • In the timeline, select interlaced clips you’ve added to a progressive project. Final Cut Pro User Guide 542 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 5. Select the Deinterlace checkbox. Note: Selecting the Deinterlace setting causes the frame rate of the selected clips to double. For example, if the original interlaced clips have a frame rate of 29.97 fps, the deinterlaced clips have a frame rate of 59.94 fps. Keep this in mind when you choose the video and audio settings for your project. Tip: To confirm the absence of interlacing artifacts, you can press the Left Arrow and Right Arrow keys to step through the clips in the timeline one frame at a time. 6. To display full-resolution frames during playback, click the View pop-up menu in the top-right corner of the viewer and choose Better Quality. The clips now play back and function as progressive clips. Depending on your specific computer configuration, background rendering may be necessary. Use XML to transfer projects in Final Cut Pro You can import and export XML (Extensible Markup Language) files in Final Cut Pro. FCPXML is a specialized format that uses XML elements to describe the data exchanged between Final Cut Pro and third-party applications and tools. You can use XML documents (plain ASCII text files with tagged elements) to transfer the details of your libraries, events, projects, and clips between Final Cut Pro and third-party applications, devices, and media asset management tools that don’t recognize Final Cut Pro documents and files. The XML import and export options are described in detail in the Final Cut Pro XML developer documentation. See Exchanging Content and Metadata with Final Cut Pro at the Apple Developer website. Final Cut Pro User Guide 543 Import XML into Final Cut Pro You can generate XML files with other applications and then import them into Final Cut Pro. When you import an XML file, Final Cut Pro generates clips, events, projects, and a library, depending on the contents of the XML file. 1. In Final Cut Pro, choose File > Import > XML. 2. Navigate to the XML file you want to import, then click Import. Final Cut Pro processes the XML and generates the corresponding clips, events, projects, and library, depending on the contents of the XML file. Tip: You can also import XML files by double-clicking them in the Finder or dragging them to the Final Cut Pro app icon. Export XML from Final Cut Pro You can export events, projects, and libraries as XML files. 1. In Final Cut Pro, select a library, or select one or more events, projects, or clips that you want to export as XML files. To export the project currently open in the timeline, click in the timeline to make it active. 2. Choose File > Export XML. 3. In the window that appears, enter a name for the XML file in the Save As field. 4. Navigate to a folder on your Mac or storage device where you want to store the XML file. 5. Click the Metadata View pop-up menu and choose a metadata view. By choosing a metadata view, you determine what information is included in the XML file and how it’s organized. See View and change clip metadata and Modify metadata views. 6. Select the XML version (Current or Previous) for the export. Note: In most cases, you should choose the current version. You have the option to choose the previous version of the Final Cut Pro XML Interchange Format if you have XML processing code or a third-party application that recognizes the previous version only. 7. Click Save. With Final Cut Pro 10.3 or later and compatible third-party applications, you can incrementally update your libraries, events, projects, and clips simply by dragging them between the applications. For example, you might drag a set of events from Final Cut Pro to your media asset management (MAM) application. Or you might drag a library from your MAM application to Final Cut Pro to update it instantly. For more information about compatible third-party applications, visit the Final Cut Pro Resources webpage. Note: Final Cut Pro XML version 1.10 or later is required for the object tracking and Cinematic mode video features introduced in Final Cut Pro 10.6. When you export FCPXML using version 1.10 or later, Final Cut Pro uses FCPXML bundles, which have the filename extension .fcpxmld. Final Cut Pro User Guide 544 Edit 360-degree video Intro to 360° video in Final Cut Pro Using Final Cut Pro, you can import, edit, and share 360° video to provide your audience with immersive viewing experiences. 360° video (sometimes called spherical video) is footage captured by special cameras that point lenses in all directions to create a panoramic sphere of video that surrounds the viewer—as if the video were projected onto the inside of a hollow globe. Viewers can watch 360° video in several ways. With a virtual reality (VR) headset, viewers can turn their heads to see different parts of a scene. This creates the illusion of being physically in the space. Viewers can also watch 360° video and navigate to all parts of the scene by turning or rotating an iPhone or iPad or by scrolling a rectangular window on a computer. How 360° video is recorded and displayed 360° footage is recorded using multiple cameras or a dedicated 360° camera with multiple “fisheye” lenses, with each lens recording a different but overlapping camera angle. Before 360° footage is imported into Final Cut Pro, the different camera angles must be stitched together to create a single seamless 360° image. Some 360° cameras do this step automatically; others require that you stitch the camera angles together using special software. For 360° playback and editing in Final Cut Pro, the stitched image must be an equirectangular projection, similar to world maps that depict the globe as a twodimensional (2D) rectangle. Final Cut Pro User Guide 545 The examples below show an image from a single fisheye lens, the resulting equirectangular image composed of multiple fisheye images stitched together, and a standard (also called rectilinear) image of the same scene for comparison. Types of 360° video: Monoscopic versus stereoscopic There are two types of 360° video: monoscopic (2D) and stereoscopic (three-dimensional, or 3D). In each case, viewers can navigate to any part of the full 360° scene. • Monoscopic 360° video is a flat 2D rendering that can be viewed on any screen. Viewers can navigate monoscopic 360° video in any direction, but there’s no real depth perception; viewing monoscopic video is like looking around with only one eye open. • Stereoscopic 360° video is split into two views designated for the left and right eyes, creating the perception of depth that people experience in the real world when they have two eyes open. This type of video is designed to be viewed through a special headset or glasses that can project each view into the appropriate eye. Final Cut Pro User Guide 546 Working with 360° video in Final Cut Pro You import 360° clips the same way you import other media, but you need to make sure that your 360° clips have the correct metadata assigned. See Import 360-degree video. You can view and navigate 360° clips in a dedicated 360° viewer. You can also view 360° clips in a VR headset connected to your Mac. You can view and navigate the 360° image in any direction, even when the video is paused. See View and navigate 360-degree video. To edit 360° video, you create special 360° projects. You can add standard rectilinear video clips to 360° projects, and you can also add 360° clips to rectilinear projects. When you’ve finished editing, you can export your 360° clips and projects as files or share them on a variety of video-sharing and social media websites. See Share 360-degree clips and projects. 360º images © 2015 Jaunt, Inc. Import 360° video into Final Cut Pro You import 360° video the same way you import any other video media, but there are a couple of important things to keep in mind: • For proper playback and editing in Final Cut Pro, your 360° media must be formatted for equirectangular projection. • The metadata associated with your 360° media must be set correctly. After you import 360° media, you can view or change its metadata in the browser and the Info inspector. Check settings for imported 360° clips 1. Import the 360° video clips into Final Cut Pro. 2. Select a 360° clip in the browser. 3. Do one of the following: • Open the Info inspector, then make sure the 360° Projection Mode pop-up menu is set to Equirectangular. • Switch the browser to list view, then scroll to the right side of the browser and make sure the clip’s 360° Mode column is set to Equirectangular. If your 360° media is not equirectangular, you can assign other settings to organize your media. For example, if you have fisheye media that hasn’t yet been stitched into equirectangular format, you could assign it the Back-to-Back Fisheye setting as a reminder that it still needs to be converted. See 360-degree video settings. Note: You can tag Fisheye, Back-to-Back Fisheye, and Cubic clips to organize them, but before you can edit them in Final Cut Pro you need to convert those clips to equirectangular clips using stitching software from the camera manufacturer. 4. In the Stereoscopic Mode column in the browser (to the right of the 360° Mode column) or the Stereoscopic Mode pop-up menu in the Info inspector, choose a setting that corresponds to the type of 360° media: • Monoscopic: View for a monoscopic 360° clip (no stereoscopic characteristics). For monoscopic media, make sure to choose this setting. Final Cut Pro User Guide 547 • Side by Side: View for a stereoscopic 360° clip. The images for the left and right eyes are side by side in the video frame. • Over/Under: View for a stereoscopic 360° clip. The images for the left and right eyes are stacked vertically in the video frame. For more information about stereoscopic media, see View stereoscopic 360° clips in the 360° viewer. 360° video settings in Final Cut Pro You can assign 360°-related metadata tags to your 360° clips, which is useful for organizing your media and creating 360° projects. Some of these metadata tags are required for your 360° media to play back properly in the viewer and the 360° viewer. Tagging 360° clips with the correct metadata is a fundamental part of the importing process. See Import 360-degree video. 360° Mode settings The 360° Mode setting indicates the type of projection used to display the clip in the Final Cut Pro viewer and 360° viewer. • None: A standard clip (no 360° characteristics). • Equirectangular: A 360° clip with equirectangular projection—similar to a world map that depicts the globe as a two-dimensional (2D) rectangle. • Fisheye: A clip shot with a 180° fisheye lens. • Back-to-Back Fisheye: A 360° video clip shot with two 180° fisheye lenses facing in opposite directions. • Cubic: A 360° projection in which the spherical view is unfolded like a cube, with six faces surrounding the viewer. Each face is flattened as a rectilinear projection with 90 x 90 degrees of view. Cube maps are stored as six separate square textures or as a single texture with all faces unfolded. Note: You can tag Fisheye, Back-to-Back Fisheye, and Cubic clips to organize them, but before you can edit them in Final Cut Pro you need to convert those clips to equirectangular clips using stitching software from the camera manufacturer. Stereoscopic Mode settings The Stereoscopic Mode setting in Final Cut Pro indicates the type of stereoscopic configuration. • Monoscopic: A monoscopic 360° clip (no stereoscopic characteristics). • Side by Side: The images for the left and right eyes are side by side in the video frame. • Over/Under: The images for the left and right eyes are stacked vertically in the video frame. Final Cut Pro User Guide 548 Create 360° projects in Final Cut Pro To take full advantage of the 360° video capabilities of Final Cut Pro, you must edit 360° clips in a project whose format is set to 360° video. Final Cut Pro sets project properties based on the properties of the first clip you add to the project, so you can create a 360° project by adding a 360° clip to a new, empty project. You can also set 360° project properties manually. Create a 360° project with 360° clips 1. In Final Cut Pro, select an event in the Libraries sidebar, then choose File > New > Project (or press Command-N). For more details, see Create a new project. 2. In the window that appears, make sure “Set based on first video clip properties” appears after “Video.” If you don’t see “Set based on first video clip properties,” click Use Automatic Settings. 3. Enter a name for the project, then click OK. 4. In the browser, locate one of the 360° video clips that you imported. Make sure the clip has the 360° video properties that you want in your new project. See Check settings for imported 360° clips. 5. Add the clip to the new (empty) timeline. If the clip properties match a built-in preset, Final Cut Pro sets the project properties to match the properties of the clip you added. After you create your 360° project, you edit your 360° clips in the timeline the same way you edit standard clips. See Intro to editing. Create a 360° project manually 1. In Final Cut Pro, select an event in the Libraries sidebar, then choose File > New > Project (or press Command-N). 2. Enter a name for the project in the window that appears. 3. Click the Video Format pop-up menu and choose 360°. If you don’t see the Video Format pop-up menu, click Use Custom Settings. 4. Click the Projection Type pop-up menu and choose one of the following: • 360° Monoscopic: Choose this option for monoscopic 360° media. • 360° Stereoscopic: Choose this option for stereoscopic 360° media. 5. Make any other changes to the project’s video, audio, or rendering properties. See Final Cut Pro project settings. 6. Click OK. For more details, see Create a new project. Tip: To quickly create a 360° project from a 360° clip in the browser that has the properties you want in your project, Control-click the clip and choose New Project. Enter a name for the project, then click OK. Final Cut Pro User Guide 549 Final Cut Pro includes effects that are specially designed for 360° video. To find them, click the 360° category in the Titles and Generators sidebar or in the Effects browser. See Add 360-degree titles and generators and Add 360-degree video effects. You can remove the camera mount from your stationary 360° clips. See Add the 360-degree Patch effect. View and navigate 360° video in Final Cut Pro In Final Cut Pro, you can view and navigate 360° clips in a dedicated 360° viewer or in a virtual reality (VR) headset connected to your Mac. You can view and navigate the 360° image in any direction, even when the video is paused. For proper 360° playback and editing in Final Cut Pro, you must use files rendered in the equirectangular format, and they must be tagged as Equirectangular in Final Cut Pro. See Import 360-degree video. Note: Navigating within 360° video clips does not affect the orientation of any media files that you export from your 360° project. To change the orientation of output media files, see Reorient 360-degree video. Navigate 360° video clips in the 360° viewer 1. In Final Cut Pro, do one of the following: • Select a 360° clip in the browser, then position the playhead in the clip. • Add a 360° clip to a 360° project in the timeline, then position the playhead in the clip. See Create 360-degree projects. The equirectangular image appears in the viewer. Final Cut Pro User Guide 550 2. Choose View > Show in Viewer > 360° (or press Option-Command-7). The 360° viewer appears to the left of the viewer, showing the 360° clip as a 360° projection. 3. If you wish, play back the clip. 4. To navigate within the clip, drag in any direction in the 360° viewer, or do any of the following: • Look up: Press Control-Option-Command-Up Arrow. • Look down: Press Control-Option-Command-Down Arrow. • Look left: Press Control-Option-Command-Left Arrow. • Look right: Press Control-Option-Command-Right Arrow. • Roll clockwise: Press Control-Option-Command-Right Bracket. • Roll counterclockwise: Press Control-Option-Command-Left Bracket. Adjust the field of view in the 360° viewer As you play back or edit your 360° video clips in Final Cut Pro, you can adjust the view in the 360° viewer. Note: You can’t adjust the view in the 360° viewer when a VR headset is connected. 1. In Final Cut Pro, view a 360° video clip in the 360° viewer. 2. Do any of the following: • Widen the field of view: Drag the Field of View slider to the left, or press ControlOption-Command-Minus Sign (–). • Narrow the field of view: Drag the Field of View slider to the right, or press ControlOption-Command-Plus Sign (+). • Reset the field of view: Click the Reset button to the right of the Field of View slider. • Superimpose information about the viewing angle: Click the Settings pop-up menu in the upper-right corner and choose Show Overlays. Final Cut Pro User Guide 551 • Reset the angle of view to the default direction: Click the Settings pop-up menu in the upper-right corner and choose Reset Angle (or press Control-OptionCommand-0). View stereoscopic 360° clips in the 360° viewer When working with stereoscopic 360° media in the 360° viewer, you can show the views for both the left and right eyes simultaneously. These special view options in the 360° viewer allow you to objectively assess the parallax and alignment of stereoscopic sources. 1. Select a stereoscopic 360° video clip in the Final Cut Probrowser. Be sure to confirm the stereoscopic settings for the clip. 2. View the clip in the 360° viewer. 3. Click the Settings pop-up menu at the top of the 360° viewer and choose an option from the Stereoscopic section: • Left Eye: Shows just the view for the left eye. • Right Eye: Shows just the view for the right eye. • Anaglyph: Shows a simultaneous view from both eyes. The red channel for the left eye and the blue and green channels for the right eye are composited together. You can use this view to compare parallax and alignment with or without standard red/ cyan anaglyph glasses. • Anaglyph Monochrome: Shows the Anaglyph view in grayscale. This view makes it easier to see the image in stereo. Luminance from the left and right sources is composited together using the red channel for the left eye and the blue and green channels for the right eye. You can use anaglyph glasses to see the image without interference from the native colors in the source image, or use this view without glasses to compare parallax and alignment. • Anaglyph Outline: Shows edges in the image and lets you set the parallax using the Convergence control, which adjusts the apparent convergence point (the perception of distance to an element) in stereoscopic space. Edges with red on the left side indicate positive parallax (farther away than the convergence point), and red on the right indicates negative parallax (closer than the convergence point). As a bonus, you can use anaglyph glasses to preview the stereoscopic 3D effect. This is the most precise view for assessing the actual parallax in a scene. Final Cut Pro User Guide 552 • Superimpose: Composites the views for the left and right eyes at 50 percent opacity so they are both visible simultaneously. This view is useful for spot-checking the output, but does not help identify specific left-right parallax cues. You can’t use anaglyph glasses with this view. • Difference: Compares the pixel color values of the views for the left and right eyes and produces a monochrome result. No difference results in gray output, but dissimilar pixels appear in a range from dark to bright. This view is ideal for flagging vertical disparities or inconsistencies in stitching. You can also adjust the apparent convergence point in stereoscopic space without a VR headset. You can’t use anaglyph glasses with this view. View 360° video clips with a VR headset 1. Connect a VR headset to your Mac. Using a VR headset with Final Cut Pro requires macOS High Sierra 10.13 or later. Important: For more information about setting up your VR headset, see the Apple Support article Use a VR headset with Final Cut Pro and Motion, the Final Cut Pro Technical Specifications page, and the documentation that came with your headset. 2. In Final Cut Pro, click the Settings pop-up menu in the upper-right corner of the 360° viewer and choose Output to VR Headset (or press Control-Option-Command-7). The 360° video appears in the VR headset display. 3. If you want the 360° video to appear in both the 360° viewer and the VR headset display, click the Settings pop-up menu and choose Mirror VR Headset (or press Control-Option-Command-9). 4. To navigate the 360° video, put on the headset and look in any direction. The display in the headset changes as you turn your head. 5. To set a default (home) direction for the headset, point the headset in the direction that you want to set as the default, then click the Settings pop-up menu and choose Reset Orientation. The default direction of the headset is usually determined by headset software when the headset is initialized, but you can change the direction using the Reset Orientation command. 360º images © 2015 Jaunt, Inc. Edit a 360-degree project Reorient 360° video in Final Cut Pro Every 360° video clip has a native orientation (the default direction the viewer looks). You can change the orientation of a 360° video clip by adjusting its Tilt, Pan, and Roll parameters. Final Cut Pro User Guide 553 Panning is a camera movement in which the field of view moves horizontally. Tilting moves the field of view up and down. Rolling rotates the view around an axis that goes through the length of the camera lens, causing the angle of the horizon to change. Note: The settings described in this topic affect the orientation of output media files you export from a project. For information about temporary playback and navigation in the 360° viewer, see View and navigate 360-degree video. Change the 360° orientation using the Video inspector 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Adjust the parameters in the Reorient section of the inspector: • Tilt (X): Rotate the view up or down (around the x-axis). • Pan (Y): Rotate the view left or right (around the y-axis). • Roll (Z): Rotate the view clockwise or counterclockwise (around the z-axis). • Convergence: Adjust the apparent convergence point of elements in stereoscopic space, allowing them to be perceived as closer or farther away. (The Convergence parameter appears for stereoscopic clips.) As you change the values in the Reorient section of the inspector, the viewer updates to reflect the changes. Final Cut Pro User Guide 554 Change the 360° orientation using the onscreen control 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. To show the Reorient onscreen control, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Reorient. • Control-click in the viewer (not the 360° viewer) and choose Reorient. • Click the Reorient button in the Reorient section of the Video inspector. When you move the pointer over the viewer, the pointer changes to the Reorient control. The Reorient button in the inspector and in the lower-left corner of the viewer turns blue to indicate that the Reorient control is active. 5. Drag in the viewer (not the 360° viewer) to adjust the orientation of the selected clip. Tip: To constrain the movement to one axis, hold down the Shift key as you drag. As you drag in the viewer, the values in the Reorient section of the inspector update to reflect the changes. Final Cut Pro User Guide 555 Use the Horizon guidelines to realign the image When you make orientation changes in a 360° video clip (particularly when adjusting the Tilt and Roll parameters), you might lose track of the horizon line. You can show Horizon guidelines in the viewer to help you realign, recenter, or level the image—for example, to align the horizon on the x-axis. • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose Show Horizon in the Overlays section. Note: It’s possible to create cinematic camera moves in your 360° projects by using keyframes to animate changes to the orientation parameters over time (see Add video effect keyframes). However, this may not be appropriate given that 360° video is fully interactive and navigable by the viewing audience at all times. A more appropriate use of this technique might be animating a 360° clip in a rectilinear project. See Add 360-degree clips to standard projects. 360º images © 2015 Jaunt, Inc. Add 360° video effects in Final Cut Pro Final Cut Pro includes special 360° versions of some standard effects (such as blur, glow, and sharpen effects). You can apply these effects to 360° clips without creating seams, unwanted distortions, or other artifacts. 1. Select a 360° clip in the Final Cut Pro timeline, then click the Effects button in the topright corner of the timeline (or press Command-5). 2. In the Effects browser, select the 360° category below Video, then double-click an effect to apply it to the selected clip. You can also apply an effect by dragging it directly to a clip in the timeline. For more information about adding clip effects, see Intro to clip effects. Final Cut Pro User Guide 556 You can use the 360° Patch effect to cover up unwanted imagery (such as a camera or tripod) in a 360° scene. See Add the 360-degree Patch effect. Add 360° titles and generators in Final Cut Pro Final Cut Pro includes titles and generators that are specially designed for use in 360° projects. 360° titles are always projected correctly into the equirectangular projection, so the depth, lighting, and shading of 3D text appear as they would in a standard project. You adjust 360° titles using Reorient controls (rather than the 360° Transform controls that you use to adjust standard titles in a 360° project). Final Cut Pro also includes special 360° generators. You can add these generators to 360° projects without creating seams, unwanted distortions, or other artifacts. 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. Do one of the following: • Select the 360° category below Titles in the sidebar, then add a 360° title to your project. See Add titles. To position 360° titles, follow the instructions for using the Reorient tools in Reorient 360-degree video. • Select the 360° category below Generators in the sidebar, then add a 360° generator to your project. See Intro to generators. 360º images © 2015 Jaunt, Inc. Final Cut Pro User Guide 557 Add standard clips to 360° projects in Final Cut Pro You can include rectilinear clips and titles in a 360° project—for example, you might want to place a logo or a title within the 360° equirectangular projection. When you add a standard title (a title not optimized for 360° video) to a 360° project, the title looks “flat” in the viewer but appears as if it is pasted on the inside of the 360° sphere in the 360° viewer. You can turn on the 360° Transform controls to project the title correctly into the equirectangular projection. When 360° Transform is on, the title appears on a flat plane within the 360° sphere. However, a standard 3D title projected by 360° Transform does not have the depth of a 360°-optimized 3D title. You can position it in the 360° sphere, but it always appears thin, like a piece of paper with a photograph of a 3D title on it. 1. In Final Cut Pro, do one of the following: • Add a standard clip: Import the rectilinear media, then add one or more rectilinear clips to your 360° project. See Intro to adding clips. • Add a standard title: Choose Window > Go To > Titles and Generators (or press Option-Command-1), then select any category below Titles in the sidebar (other than the 360° category) and add a title to your project. To change the text of the title, see Edit title text. 2. In the timeline, select one or more of the standard clips or titles. Final Cut Pro User Guide 558 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. If you added a title, select the 360° Transform checkbox to turn on the 360° Transform controls. Note: The 360° Transform parameters are turned off by default for standard titles so that you can first edit the text in the viewer using onscreen controls. After you finish editing the title content with onscreen controls, select the title in the timeline, then select the 360° Transform checkbox in the Video inspector to enable those controls and project the title as a flat plane. 6. If the 360° Transform controls aren’t shown in the Video inspector, move the pointer over 360° Transform and click Show. 7. Click the Coordinates pop-up menu and choose a method of positioning the clip or title in the equirectangular projection: • Spherical: Use this coordinate system for logos, titles, or video clips that are either stationary or orbiting around the center. • Cartesian: Use this coordinate system when you want to animate a clip or title to travel from one point in 3D space to another. For example, if you were to re-create the opening text scroll of Star Wars, you would create it on a single plane, then rotate it on the x-axis and fly it from behind the center out in front. 8. Depending on the coordinate system you chose, adjust the following position parameters: If you chose Spherical: • Latitude: Rotate the clip plane up or down around the center. • Longitude: Rotate the clip plane left or right around the center. • Distance: Move the clip plane closer to or farther from the center. • Scale: Change the clip’s size (without affecting the distance or parallax). If you chose Cartesian: • X Position: Move the clip plane on the x-axis. • Y Position: Move the clip plane on the y-axis. • Z Position: Move the clip plane on the z-axis. 9. If you want the clip plane to always face the center, select the Auto-orient checkbox. Final Cut Pro User Guide 559 10. To set the local orientation of the clip, adjust the following parameters: • X Rotation: Rotate the clip plane on its x-axis. • Y Rotation: Rotate the clip plane on its y-axis. • Z Rotation: Rotate the clip plane on its z-axis. • Convergence: Adjust the apparent convergence point of elements in stereoscopic space, allowing them to be perceived as closer or farther away. (The Convergence parameter appears for rectilinear clips in stereoscopic projects.) • Interaxial: Adjust the stereoscopic depth of the selected clip. The effect becomes apparent when you adjust the clip’s local orientation. (The Interaxial parameter appears for rectilinear clips in stereoscopic projects.) 360º images © 2015 Jaunt, Inc. Add 360° clips to standard Final Cut Pro projects You can add 360° clips to a standard rectilinear project. When you export the rectilinear project, the 360° clips are converted to rectilinear clips (which are not navigable by the viewing audience). However, you can create the effect of cinematic camera moves with 360° clips by animating tilts, pans, and rolls (or create interesting “tiny planet” effects) before you export. 1. Make sure the 360° clips have the correct 360° metadata tags in the Final Cut Pro browser. See Check settings for imported 360° clips. 2. Add one or more 360° clips to a rectilinear project. See Create a new project and Intro to adding clips. Note: If you add a stereoscopic 360° clip to a rectilinear project, Final Cut Pro displays the video image from the left eye only. 3. Select the clip or clips in the timeline. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. Final Cut Pro User Guide 560 6. In the Video inspector, scroll down to the Orientation section, then click the Mapping pop-up menu and choose one of the following: • Normal: Presents any portion of the 360° video, up to 175° maximum (125° for 16:9 projects), using gnomonic projection, in which straight lines appear straight. • Tiny Planet: Maps the entire 360° sphere onto a flat plane, creating the effect of a tiny planet. See Add the Tiny Planet effect. 7. In the Orientation section, adjust any of the following parameters: • Tilt (X): Rotate the view left or right (around the x-axis). • Pan (Y): Rotate the view up or down (around the y-axis). • Roll (Z): Rotate the view clockwise or counterclockwise (around the z-axis). • Field of View: Adjust the amount of the 360° scene that is shown. To widen the field of view, drag the slider to the right. To narrow the field of view, drag the slider to the left. You can use one orientation (camera angle) for the entire duration of a 360° clip, or you can animate changes to the orientation over time to create the effect of cinematic camera moves. See Add video effect keyframes. Important: Changes to the orientation settings affect the orientation of output media files. You can edit the 360° clips in a rectilinear project the same way you edit standard clips. When you finish editing your rectilinear project, you can share the project using any share method. The output from any 360° clips included in the project is flat (just like any other standard rectilinear video). Add the 360° Patch effect in Final Cut Pro You can use the 360° Patch effect to cover up (patch) a portion of a 360° clip with pixels from another location in the 360° sphere. The 360° Patch effect is typically used to hide the tripod or camera support by cloning an area of the ground near the camera. You use the source controls to specify where in the image you want to copy the patch from, and the target controls to specify where to paste the patch. Final Cut Pro User Guide 561 Unlike a static image, a patch created with the 360° Patch effect adjusts dynamically as the lighting changes in the scene. Apply the 360° Patch effect 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. Open the Effects browser, select the 360° category on the left, then double-click 360° Patch to add the effect to the clip selected in the timeline. 5. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 6. In the Video inspector, click the Patch Region pop-up menu and choose a general area of the 360° sphere to work on. You can choose Nadir (Bottom), Zenith (Top), Front, Back, Left, or Right. 7. Select the Setup Mode checkbox. The area of the image you chose in the Patch Region pop-up menu appears in the viewer, with onscreen controls for the patch source and target areas. 8. Drag the red (target) control over the area you want to patch (cover up). 9. Drag the green (source) control over the area you want to clone (copy). Final Cut Pro User Guide 562 10. To adjust the source radius (the size of the area you want to clone), drag the white circle around the green control. 11. In the Video inspector, adjust any of the following source parameters (which define the portion of the 360° image to copy for the patch): • Source Position: Adjust the source location. • Source Radius: Adjust the source size. • Source Softness: Adjust the softness of the patch edge. • Source Aspect: Adjust the patch shape. • Source Angle: Rotate the source shape. 12. To “spotlight” the source selection, dimming the rest of the image, select the Highlight Source checkbox. 13.Adjust any of the following target parameters (which define the portion of the 360° image to patch): • Target Position: Adjust the target location. • Target Opacity: Adjust the patch opacity. • Target Angle: Rotate the target shape. • Target Scale: Adjust the target size. 14.To flop the cloned image horizontally, vertically, or both horizontally and vertically, click the Target Flip Flop pop-up menu and choose an option. 15. To dismiss the onscreen controls and return to the standard view in the viewer and the 360° viewer, deselect the Setup Mode checkbox. The patch appears on the 360° clip. (You may need to use the 360° viewer to navigate to it.) Note: You can keyframe most of the parameters in the 360° Patch effect. See Add video effect keyframes. Create a separate clip with only the 360° Patch image By default, the 360° Patch effect is composited onto the 360° image as a permanent change in the output media file. You can isolate the patch image in a separate connected clip, which is particularly useful if you need to color correct the patch in isolation from the rest of the 360° image. 1. Apply the 360° Patch effect to a clip in your 360° project. 2. Duplicate the clip, then connect the duplicate clip above the original clip in the timeline. Tip: A quick way to do this is to Option-drag the clip to the area in the timeline just above the clip. 3. Select the connected clip. Final Cut Pro User Guide 563 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Deselect the Show Background checkbox at the bottom of the 360° Patch effect controls in the Video inspector. Final Cut Pro creates an alpha channel mask, isolating the patch image. You can now apply color correction and video effects to the patch image, separately from the original clip. 360º image © 2015 Jaunt, Inc. Final Cut Pro User Guide 564 Add the Tiny Planet effect in Final Cut Pro You can use the Tiny Planet mapping setting on 360° clips in a standard rectilinear project. The entire 360° sphere is converted to a stereographic projection (mapped onto a flat plane), creating the effect of a tiny planet. In contrast, the Normal mapping setting shows a standard image (a portion of the 360° image) in the viewer in a rectilinear project, and the full equirectangular image in the viewer in a 360° project. Note: You can apply 360° clip effects such as 360° Patch and 360° Noise Reduction to 360° clips in a rectilinear project. You can also add 360° titles and generators to rectilinear projects. 1. In Final Cut Pro, create a 360° project. 2. In the Video inspector, scroll down to the Orientation section, then click the Mapping pop-up menu and choose Tiny Planet. 3. To modify the tiny planet effect, do one of the following: • Adjust the parameter controls in the Orientation section of the Video inspector. • Click the Orientation button in the Orientation section of the inspector, then drag in the viewer to adjust the Orientation parameters. See Change the 360° orientation using the onscreen control. To constrain the movement to one axis, hold down the Shift key as you drag. Final Cut Pro User Guide 565 The following parameters are particularly useful for tiny planets: • Field of View: Zoom in or out on the tiny planet. • Pan (Y): Rotate the planet. • Tilt (X): Create an inverted tiny planet. Tip: During production, have some fun and take a stroll around your tiny planet: Position your 360° camera, start recording, take two or three large steps away from the camera, then walk, ride, or skate in a concentric circle around the camera. Share 360° clips and projects in Final Cut Pro When you’ve finished editing, you can export your 360° projects and clips as files or share them on a variety of video-sharing and social media websites. See Share on the web. Final Cut Pro includes metadata in the output media file to identify it as a particular type of 360° video. You can also export a final file, or export XML files of events, projects, or libraries that include 360° clips and projects. In addition to Final Cut Pro, you can use Safari on macOS High Sierra 10.13 or later, Chrome, and Firefox to play back 360° video on a Mac. You can also use many of the apps included with 360° cameras. 360º video tips in Final Cut Pro The following tips can help ensure success in your Final Cut Pro 360° video workflow: • Make sure your 360° media is compatible with Final Cut Pro. • Your 360° media must be formatted for equirectangular projection. See Intro to 360-degree video. • For a list of supported cameras, see the Apple Support article Cameras supported by Final Cut Pro. • Make sure your Mac meets the recommended system requirements for 360º video. See the Final Cut Pro Tech Specs webpage. • Tag 360° clips with the correct properties as early as possible in the import process. This 360° metadata is required for proper playback and editing. See Import 360° video. Final Cut Pro User Guide 566 • You can use a VR headset to work with 360° video in Final Cut Pro for a fully immersive editing experience. For setup instructions, see the Apple Support article Use a VR headset with Final Cut Pro and Motion. Note: Because you can view and navigate 360° clips in a dedicated 360° viewer, a VR headset is not required to work with 360° video in Final Cut Pro. • Make sure to provide adequate storage space for 360° video files. In general, video files from 360° cameras are about four times larger than files from comparable standard cameras. Video files from 360° cameras use the same file formats and codecs as those from standard cameras. For information about managing media in Final Cut Pro, see Intro to media management . • In addition to Final Cut Pro, you can use Safari on macOS High Sierra 10.13 or later, Chrome, and Firefox to play back 360° video on a Mac. You can also use many of the apps included with 360° cameras. Change the focus in Cinematic mode video Intro to Cinematic mode video in Final Cut Pro In Final Cut Pro, you can change the focus of video clips recorded in Cinematic mode on iPhone 13 models. Cinematic mode creates clips with a simulated depth-of-field effect that keeps your subjects—people, pets, and more—in sharp focus while allowing a pleasing blur on the background (or foreground). As you record, the camera uses machine learning to automatically detect and focus on subjects in the scene. You can also tap the screen while recording to manually focus on a subject. These automatic and manual focus decisions are called focus points. Focus points, as well as depth-of-field data, are saved with the Cinematic clip. When you import a Cinematic clip into Final Cut Pro, you can: • Add focus points and switch the focus between different subjects • Lock the focus on a moving object or a person • Lock the focus on a point in the scene at a specific distance from the camera • Delete manual focus points (added during recording or added in Final Cut Pro) • Adjust or animate the depth of field, creating a rack focus effect Note: Editing Cinematic mode video in Final Cut Pro requires macOS Monterey or later. For information on recording in Cinematic mode, see Take videos with your iPhone camera in the iPhone User Guide. Final Cut Pro User Guide 567 Import Cinematic mode clips into Final Cut Pro To edit Cinematic mode video in Final Cut Pro, you must import the Cinematic mode video clips using a method that preserves the depth and focus metadata created during recording on iPhone. Import directly into Final Cut Pro from iPhone or Photos See the following topics: • Import from iPhone, iPad, or iPod touch • Import from Photos Transfer using AirDrop, then import into Final Cut Pro You can use AirDrop to transfer Cinematic mode video clips from your iPhone to your Mac. 1. In Photos on your iPhone, open a Cinematic clip, then tap the Share button . 2. Tap Options at the top of the screen, turn on All Photos Data, then tap Done. 3. Tap AirDrop, then, in the Devices list, tap the Mac you want to transfer the clip to. (Make sure the Mac you’re sharing with has AirDrop turned on.) For each Cinematic clip that you transfer using AirDrop, a folder containing four files appears on the receiving Mac. 4. In the folder, locate the MOV file that does not begin with “IMG_E,” then import it into Final Cut Pro. Enable Cinematic mode video adjustments in Final Cut Pro To view and adjust focus points in a Cinematic mode video clip, you must open the Cinematic Editor in the timeline and show the Cinematic onscreen controls in the viewer. Step 1: Create a Cinematic mode video project By default, iPhone records video in HDR. For the best quality, import HDR Cinematic mode clips into a wide-gamut HDR project. 1. In Final Cut Pro, do one of the following: • If you recorded Cinematic mode clips in HDR (the default): Create an HDR library and project, and set the color space to Wide Gamut HDR - Rec. 2020 HLG. See Use wide-gamut HDR color processing. If you want to use the HDR clips in an SDR project, you can convert the clips to SDR using the HDR Tools effect. See Convert or adjust HDR clips. • If you recorded Cinematic mode clips in SDR: Create a new project. 2. Import the Cinematic clips. 3. Add one or more Cinematic clips to the timeline. Step 2: Open the Cinematic Editor in the timeline 1. In the Final Cut Pro timeline, select one or more Cinematic clips. Final Cut Pro User Guide 568 2. Do one of the following: • Choose Clip > Show Cinematic Editor (or press Control-Option-F). • Control-click the selection in the timeline and choose Show Cinematic Editor. Two kinds of focus points appear in the Cinematic Editor (above the selected clips in the timeline): • Automatic focus points: These are created by the Camera app while recording in Cinematic mode. In the timeline, automatic focus points appear as white dots. • Manual focus points: These are created when you tap the screen (to focus on a particular item in the scene) while recording in Cinematic mode. In the timeline, manual focus points appear as yellow dots with a ring around them. Note: Focus points are not keyframes. They are points of automatic or manual focus created when the video was recorded. Step 3: Show the Cinematic onscreen controls in the viewer 1. In the Final Cut Pro timeline, select one or more Cinematic clips. 2. Position the playhead in the timeline so that a Cinematic clip appears in the viewer. 3. Open the Video inspector, and make sure the Cinematic checkbox is selected. 4. To show the Cinematic onscreen controls for the selected clips, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Cinematic (or press Control-Shift-F). • Control-click in the viewer and choose Cinematic. As you drag the playhead in the timeline, different types of controls appear in the viewer around elements in the scene. These controls indicate subjects or areas of focus identified during recording on iPhone, either automatically (by the Camera app) or manually (by the person recording the video). There are four types of controls: Final Cut Pro User Guide 569 Onscreen control Name Description Current focus indicator Yellow brackets indicate the current subject or area of focus tracked automatically by the camera. Suggested focus indicator White frames indicate potential subjects of focus tracked automatically by the camera. Move the pointer over the viewer to reveal additional suggested focus points. To change a suggested focus point to the current subject of focus, see Switch the focus in a Cinematic clip. AF Tracking Lock A yellow frame indicates the current subject or area of focus set manually (during recording or in Final Cut Pro). AF Tracking Lock focuses on a subject while following its movement, even when other potential subjects of focus appear in the video. AF Lock A small yellow square with tick marks indicates a fixed-focus point set manually (during recording or in Final Cut Pro). AF Lock focuses at a specific distance from the camera, ignoring all elements in the clip (until the next manual focus point). The types of controls that appear in the viewer depend on the focus decisions made during recording (not all types of controls appear for all Cinematic clips). Adjust the focus in Cinematic mode clips in Final Cut Pro When you record a video clip in Cinematic mode on iPhone, the Camera app automatically targets the most likely subject of focus in the scene. In the background, it also tracks focus for other potential subjects of your video clip. If another item comes into the frame, the camera may automatically switch the focus to that item. For example, if you’re focusing on one subject and that subject moves away from the center (or the camera pans) and another item comes into view, the camera may automatically focus on the second item. After you enable Cinematic adjustments, you can switch the focus between subjects in a Cinematic mode video clip, lock the focus on a subject, or fix the focus on a point at a specific distance from the camera. Final Cut Pro User Guide 570 Switch the focus in a Cinematic clip 1. In the Final Cut Pro timeline, position the playhead on a frame in a Cinematic clip that contains the item you want focus on (or select an existing focus point). In the viewer, yellow brackets appear around the current subject of focus. White frames indicate potential subjects of focus tracked by the camera. 2. In the viewer, click once on the suggested focus indicator (white frame) around the item you want to focus on. Tip: To reveal additional suggested focus points, press and hold the Option key while moving the pointer around in the viewer. The current focus indicator switches to the item you clicked, and the item comes into focus. A manual focus point appears at the playhead position in the clip’s Cinematic Editor in the timeline. Note: When you set manual focus points, Final Cut Pro may remove or reposition automatic focus points. Lock the focus on a subject in a Cinematic clip When you’re editing a Cinematic clip in Final Cut Pro, you can lock the focus on an item to prevent the focus from switching to another item. 1. In the Final Cut Pro timeline, position the playhead on a frame in a Cinematic clip that contains the item you want focus on (or select an existing focus point). In the viewer, yellow brackets appear around the current subject of focus. White frames indicate potential subjects of focus tracked by the camera. 2. In the viewer, click the current focus indicator (the yellow brackets) or double-click a suggested focus indicator (a white frame). Tip: To reveal additional suggested focus points, press and hold the Option key while moving the pointer around in the viewer. The control you clicked changes to the AF Tracking Lock, and a manual focus point is added to the clip’s Cinematic Editor 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 AF Tracking Lock, click the center of the closed yellow frame. The control reverts to the current focus indicator. Note: When you set manual focus points, Final Cut Pro may remove or reposition automatic focus points. Final Cut Pro User Guide 571 Lock the focus on a point at a specific distance from the camera You can lock the focus in a Cinematic clip at a specific distance from the camera using AF Lock. AF Lock allows you to maintain the focus on a specific spot in the scene—regardless of the subject’s movement. For example, if you lock the focus on a point in the scene’s middle ground, a blurred subject in the background can move into focus in the middle ground, then become blurry again as it moves toward the foreground. 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. In the viewer, do one of the following: • Set a fixed-focus point from the current playhead position to the next manual focus point (or the end of the clip): Move the pointer to a spot in the scene at the distance where you want to lock the focus, press and hold the mouse button, then release it. The AF Lock control, a small yellow square with tick marks, appears in the viewer, indicating the distance from the camera. A manual focus point is added to the clip’s Cinematic Editor in the timeline, and subsequent automatic focus points are overwritten. The focus is maintained at the specified distance from the camera until the next manual focus point (or the end of the clip). • Set a fixed-focus point from the current playhead position to the next manual or automatic focus point (or the end of the clip): Move the pointer to a spot in the scene at the distance where you want to lock the focus, then click once. A small yellow square with short tick marks appears in the viewer, and a manual focus point is added to the clip’s Cinematic Editor in the timeline. Note: If you lock the focus on a point in the scene that falls outside of the clip’s depth-offield range, AF Lock doesn’t bring the point into focus. Delete manual focus points You can delete any manual (yellow) focus points in a Cinematic clip, whether they were created during recording or added in Final Cut Pro. 1. In Final Cut Pro, open the Cinematic Editor, if it’s not already shown. Final Cut Pro User Guide 572 2. Click a manual (yellow) focus point in the timeline, then click Delete Focus Point. Note: When you delete manual focus points, Final Cut Pro may restore or reposition automatic focus points. Navigate between focus points 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. Open the Cinematic Editor, if it’s not already shown. 3. Do any of the following: • Move to the next focus point: Press Option-Shift-Command-Right Arrow. • Move to the previous focus point: Press Option-Shift-Command-Left Arrow. • Select a focus point: Click an automatic or manual focus point in the Cinematic Editor in the timeline. Adjust depth of field in Cinematic mode clips in Final Cut Pro In addition to focusing on different subjects or areas in the scene, you can adjust and animate the depth of field in a Cinematic mode video clip. For example, you can soften or sharpen the background behind your subject. 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. Open the Video inspector, and make sure the Cinematic checkbox is selected. 3. Drag the Depth of Field slider left or right. Lower values result in a shallower depth of field. For example, if the clip is focused on a tree in the foreground and you drag the slider to the left, the background becomes more blurry (out of focus). Conversely, dragging the slider all the way to the right brings both the tree and the background into focus. Tip: For dramatic rack focus effects, use a shallow depth of field. You can animate the Depth of Field parameter using keyframes. See Add video effect keyframes. Final Cut Pro User Guide 573 Keying, masking, compositing, and tracking Keying Intro to keying in Final Cut Pro Keying is creating areas of transparency based on color or lightness values in an image. Keying is commonly performed on subjects photographed against a blue or green background, but keys can be based on any color (color or chroma keying), or on a specific range of lightness values (luma keying). Keying allows you to composite (combine) a foreground clip and a background clip into one video image. The foreground clip is processed to key out (remove) either a color or a lightness value in areas of the image, allowing the background clip to show through in those areas. For example, you can take a video clip of a person standing in front of a green-screen background and replace the green with an interior scene, making it appear as though that person is standing in the room. This type of keying is accomplished using one of two keyer effects in Final Cut Pro: • Keyer: This general-purpose chroma-keying effect is optimized for blue- or greenscreen keying but can key any range of color you choose. See Use chroma keys. Final Cut Pro User Guide 574 • Luma Keyer: This effect is designed to generate mattes based on the image’s lightness—you choose to remove the white or black areas and whether the gray areas should be partially transparent. See Use luma keys. In addition to using these keying effects, you may need to use a matte, a positioning effect, and color correction to ensure that the foreground video looks natural when keyed over the background. See Finalize a key and Intro to masking. Use chroma keys in Final Cut Pro A challenging part of creating a good chroma key is shooting the chroma key video and, in particular, using a good, well-lit background that provides a uniform color to remove. A wide variety of specialized chroma key background options are available, from chroma key paint that includes highly reflective additives to chroma key cloth or paper sheets. It’s also important to use the best camera you can and to avoid using a highly compressed video format such as DV or MPEG-2. In the following examples, an image of a person is keyed over a scene in an empty subway station. The light stands are removed in Finalize a key. Final Cut Pro User Guide 575 Apply the chroma key effect 1. In the Final Cut Pro timeline, add the foreground clip (the chroma key clip with the color you want to remove) to the primary storyline. 2. Drag the background clip (the clip you want to superimpose the chroma key clip over) so that it’s connected below the foreground clip in the primary storyline. For more information about connected clips, see Connect clips. 3. Select the foreground clip in the timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). Tip: For best results, position the playhead at a point within the foreground clip that shows the maximum amount of the color to be keyed. 4. In the Effects browser, select the Keyer effect. Tip: Type “keyer” in the Effects browser search field to quickly find the Keyer effect. 5. Do one of the following: • Drag the effect to the timeline foreground clip you want to apply the effect to. • Double-click the effect thumbnail to apply the effect to the selected clip. The Keyer effect analyzes the video to detect a green or blue dominant color and then removes that color. If the resulting key isn’t right or you want to improve it, you can adjust the chroma key effect. Final Cut Pro User Guide 576 Adjust the chroma key effect 1. In the Final Cut Pro timeline, select the foreground clip with the Keyer effect, then open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2. If the Select tool is not the active tool, choose it from the Tools pop-up menu above the timeline (or press A). 3. To improve the key using controls in the viewer, use the Refine Key and Strength controls to do any of the following: • Identify areas of the foreground clip that might still have some of the chroma key color showing: Click the Sample Color thumbnail image in the Video inspector and draw a rectangle in the viewer over the area where the chroma key color needs to be removed. Note: By default, the Keyer effect applies spill removal, which causes any leftover fringing of the blue- or green-screen background color you’re making transparent to appear as gray. To see the original color, set the Spill Level parameter to 0%. To improve the key, you can drag the rectangle to adjust its position or drag its corners to change its size, and you can drag additional rectangles over any areas with the chroma key color still showing. Tip: Select Matte (the center button) in the View area in the Video inspector to see the matte that the chroma keyer is creating. This can make it much easier to see areas that are not keying well. Final Cut Pro User Guide 577 • Refine any difficult areas, such as hair and reflections: Click the Edges thumbnail image in the Video inspector, draw a line across the difficult area in the viewer (with one end in the area to keep and the other in the area to remove), and drag the line’s handle to adjust the edge softness. You can use the following keyboard shortcuts to work directly in the viewer: • Make a Sample Color adjustment: Draw a rectangle while holding down the Shift key. • Make an Edges adjustment: Draw a line while holding down the Command key. • Delete a Sample Color or Edges adjustment: Click a Sample Color rectangle or Edges line while holding down the Option key, or select the control and press the Delete key. • Choose a different color if the Keyer effect chose the wrong color: Set the Strength parameter to 0% (to override the automatic initial color sampling). Then use Sample Color to choose the color to remove. Select Composite (the left button) in the View area to see the foreground clip combined with the background clip. • Adjust how strongly the Keyer matches a color in the foreground image to the default chroma key color: Use the Strength slider to adjust the tolerance (core transparency) of the Keyer effect’s automatic sampling. The default value is 100%. Reducing this value narrows the range of color sampled, resulting in less transparency in the keyed image. Increasing the Strength value expands the range of color sampled, resulting in more transparency in the keyed image. The Strength parameter is useful for retrieving areas of semitransparent detail such as hair, smoke, or reflections. Final Cut Pro User Guide 578 4. To help fine-tune the key, use the View options: • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid (the foreground video is opaque), black areas are transparent (the foreground is not seen at all), and shades of gray indicate varying levels of transparency (the background video can be seen mixed with the foreground video). Viewing the matte makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed foreground image. 5. To further refine the matte, use the following controls: • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate using the Strength parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Increasing this parameter value pushes the filled area of the matte farther from the edge. Too much edge distance can result in unwanted translucency within parts of the subject that should be solid. 6. To suppress any of the background color that is appearing (spilling) on the foreground image, adjust the Spill Level control. 7. To reverse the keying operation, retaining the background color and removing the foreground image, select Invert. 8. To mix the keyed effect with the unkeyed effect, adjust the Mix control. If you’re still having trouble getting a clean key, see the following instructions. Final Cut Pro User Guide 579 Make advanced chroma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Color Selection: These controls are meant to be used after you begin creating a key using automatic sampling or the Sample Color and Edges tools. (However, you can skip those tools and create a key using Manual mode, described below.) The graphical Chroma and Luma controls provide a detailed way of refining the range of hue, saturation, and image lightness that define the keyed matte. • Matte Tools: These controls are for refining the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls are for blending color and brightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. 1. In the Final Cut Pro timeline, select the foreground clip with the Keyer effect, then open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2. Click Color Selection to reveal the following controls: • Graph: Provides two options to set how the adjustable graphs in the Chroma and Luma controls are used to fine-tune a key: • Scrub Boxes: Select to limit the Chroma and Luma controls to adjusting softness (edge transparency) in the matte you’re creating. In this mode, you can’t manually adjust tolerance (core transparency), which is determined by the Keyer effect’s automatic sampling, plus any Sample Color rectangles you’ve added in the viewer. (To increase matte tolerance, add more Sample Color rectangles or adjust the Strength slider.) Final Cut Pro User Guide 580 • Manual: Select to use the Chroma and Luma controls to adjust the softness (edge transparency) and tolerance (core transparency) in the matte you’re creating. Make sure the Strength slider is set to a value greater than 0% before you switch to Manual mode; otherwise the Chroma and Luma controls are disabled. When you switch to Manual mode, the Refine Key tools and Strength slider become disabled, but samples you’ve made with those controls continue to contribute to the matte. Important: When you switch to Manual mode, it’s best not to switch back to Scrub Boxes mode. For best results, begin keying an image using the Sample Color and Edges tools in Scrub Boxes mode. Switch to Manual mode afterward if you feel it’s necessary to refine your matte using the Chroma and Luma controls. However, if you switch back to Scrub Boxes mode, you may experience unexpected combinations of additionally sampled and keyframed values that might be difficult to control. • Chroma: Drag the two graphs in this color wheel control to adjust the isolated range of hue and saturation that help define the keyed matte. The selected mode governs which graphs in the color wheel are adjustable. The outer graph controls the softness (edge transparency) of the matte you’re creating, and can be adjusted in either Scrub Boxes or Manual mode. The inner graph controls tolerance (core transparency), and is only adjustable when in Manual mode. Drag any side of either graph to expand or contract the graph’s border, which adds to or subtracts from the range of hue and saturation contributing to the key. In Manual mode, you can also drag inside the tolerance graph to adjust its overall position in the color wheel. To the left of the color wheel, a small graph displays the slope of chroma rolloff, the relative softness of matte edges in regions most affected by the Chroma control. Dragging the Chroma Rolloff slider (described below) modifies the shape of this slope. Tip: It’s possible to zoom in to and pan around the Chroma control to more precisely adjust the graphs. To zoom in to the Chroma control, move the pointer over the color wheel and, holding down the Z key, drag to the left to zoom out or to the right to zoom in. To pan in the Chroma control, hold down the H key and drag in the color wheel in the direction you want to move it. To reset the zoom and recenter the Chroma control, move the pointer over the Chroma control and press Shift-Z. • Luma: Drag the adjustable handles in this grayscale gradient to modify the isolated range of the luma channel (the range of brightness and darkness) that also helps define the keyed matte. The upper handles (which appear only in Manual mode) adjust the tolerance (core transparency) of the luma channel’s contribution to the key. The lower handles adjust the softness (edge transparency) of the luma channel’s contribution to the key. The Graph mode governs which handles are adjustable. In Scrub Boxes mode, you can adjust only the lower softness handles, which modify the range of brightness and darkness affecting the edge transparency of the matte. In Manual mode, you can also adjust the upper tolerance handles, which modify core transparency within the luma channel of the matte. By default, the slope of the left and right sides of the Luma graph has a slight “S” curve. You can modify the shape of the curve by adjusting the Luma Rolloff slider (described below). Note: The luma softness handles may extend past the outer boundaries of the Luma control. This is due to the floating-point precision of the Keyer effect and is expected. To reveal out-of-bounds handles and then move them, drag the slope line of the Luma graph. Final Cut Pro User Guide 581 • Chroma Rolloff: Use this slider to adjust the linearity of the chroma rolloff slope (displayed in the small graph to the left of the Chroma control). Chroma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Chroma control. Lowering this value makes the slope of the graph more linear, which softens the edges of the matte. Raising this value makes the slope of the graph steeper, which sharpens the edges of the matte. • Luma Rolloff: Use this slider to adjust the linearity of the luma rolloff slope (the ends of the bell-shaped luma curve displayed in the Luma control). Luma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Luma control. Lowering this value makes the slope between the upper and lower handles in the Luma control more linear, which increases edge softness in the matte. Raising this value makes the slope steeper, sharpening the edges of the matte and making them more abrupt. • Fix Video: Select this checkbox to apply subpixel smoothing to the chroma components of the image, reducing the jagged edges that result from keying compressed media using 4:2:0, 4:1:1, or 4:2:2 chroma subsampling. Although selected by default, this checkbox can be deselected if subpixel smoothing degrades the quality of your keys. 3. Click Matte Tools to reveal the following controls: • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, and dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the Levels disclosure triangle to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (using the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. Final Cut Pro User Guide 582 • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4. Click Spill Suppression to reveal the following controls: • Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using the Black and White point handles (and corresponding sliders). Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle (on the left side of the gradient control) lightens edge fringing that is too dark for a successful composite. The White point handle (on the right side of the gradient control) darkens edge fringing that is too light. Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. • Black, White: Click the Spill Contrast disclosure triangle to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (using the Add Keyframe button to the right of each slider). • Tint: Use this slider to restore the natural color of the keyed foreground subject. Because the Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject. Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. • Saturation: Use this slider to alter the range of hues introduced by the Tint slider (when the Tint slider is used at moderate levels). Final Cut Pro User Guide 583 5. Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. This method is good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. This method is good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Animate the chroma key effect To compensate for changing conditions in the foreground clip, you can make Sample Color and Edges adjustments at multiple points in the clip. 1. In the Final Cut Pro timeline, place the playhead at the start of the foreground clip with the Keyer effect. 2. Use Sample Color and Edges (described above) to create a good chroma key. 3. Move the playhead to a point later in the clip where the lighting or background conditions change, resulting in the chroma key no longer being acceptable. 4. Use Sample Color and Edges to once again create a good chroma key. 5. To add additional adjustments at other playhead positions, repeat steps 3 and 4 as needed. 6. To move the playhead between adjustment points, use the Jump to Sample arrows. Final Cut Pro User Guide 584 When you play the clip, the Sample Color and Edges settings smoothly change from one sample point to the next. For even greater control, you can add keyframes for most of the other settings in the Keyer section of the Video inspector. For more information about working with keyframes, see Intro to video keyframing. Note: Keyframes for the chroma and luma graphs in the Color Selection controls appear only in the Video inspector and not the Video Animation editor in the timeline. Use luma keys in Final Cut Pro Luma keys provide a way to composite a foreground clip over a background clip based on the luma levels in the video. This is most often useful for still images, such as a picture of a logo over a black background, or computer-generated graphics. In the following examples, the speedometer image below is keyed over an outdoor car scene, creating a reflected look. Apply the luma key effect 1. In the Final Cut Pro timeline, move the playhead to the point in the background clip (the clip you want to superimpose the luma key clip over) where you want the key to start. 2. In the browser, select the part of the foreground clip (the luma key clip) that you want to key over the background, then choose Edit > Connect to Primary Storyline (or press Q). For details about connecting clips in this way, see Connect clips. Final Cut Pro User Guide 585 3. Select the foreground clip in the timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Luma Keyer effect. Tip: Type “keyer” in the Effects browser search field to quickly find the Luma Keyer effect. 5. Do one of the following: • Drag the effect to the timeline foreground clip you want to apply the effect to. • Double-click the effect thumbnail to apply the effect to the selected clip. The Luma Keyer effect automatically removes the black video. If the resulting key isn’t right or you want to improve it, you can adjust the luma key effect. Adjust the luma key effect 1. In the Final Cut Pro timeline, select the clip with the Luma Keyer effect. 2. Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3. To reverse the key and remove white instead of black areas of the foreground clip, select Invert. 4. To adjust the white and black clip values, drag the handles at either end of the gradient thumbnail image. By default, these handles are set to provide a key where the luma level linearly controls the transparency of the foreground—100% white is fully opaque, 0% black is completely transparent, and 25% gray retains 25% of the foreground image. Dragging the white and black controls changes the values that result in fully opaque or fully transparent foreground video. 5. To adjust the softness of the edges, adjust the Luma Rolloff control. Higher values make the edges harder, removing any partial transparency; lower values take advantage of any anti-aliasing or softness the edges might have. Final Cut Pro User Guide 586 6. To help fine-tune the key, use the View options: • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid, black areas are transparent, and shades of gray indicate varying levels of transparency. Viewing the alpha channel makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed image. 7. To leave smoothly aliased text or graphics in the image visually intact, which can improve the edges, select Preserve RGB. 8. To mix the keyed effect with the unkeyed effect, adjust the Mix control. If you’re still having trouble getting a clean luma key, see the following instructions. Make advanced luma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Matte Tools: These controls refine the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls blend color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. 1. In the Final Cut Pro timeline, select the clip with the Luma Keyer effect. Final Cut Pro User Guide 587 2. Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3. Click Matte Tools to reveal the following controls: • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate using the Luma Rolloff parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Raising this parameter value pushes the filled area of the matte farther from the edge, potentially introducing regions of unwanted translucency within parts of the subject that should be solid. • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, and dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the Levels disclosure triangle to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (using the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. Final Cut Pro User Guide 588 • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4. Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. This method is good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. This method is good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so that overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Final Cut Pro User Guide 589 Finalize a key in Final Cut Pro Quite often your foreground image has objects that you don’t want to appear in the composited output. These could be production items like microphone booms and light stands or the edges of the chroma key backdrop. Additionally, you might need to resize or reposition the foreground object to better fit with the background. As a final step, you can use the color corrector to adjust the foreground so that it matches the look of the background. Final Cut Pro includes effects that you can use for these purposes. Use a mask effect to remove unwanted parts of the foreground image 1. In the Final Cut Pro timeline, move the playhead to the point in the background clip (the clip you want to superimpose the chroma key clip over) where you want the key to start. 2. In the browser, select the part of the foreground clip (the chroma key clip) you want to key over the background, then choose Edit > Connect to Primary Storyline (or press Q). For details about connecting clips in this way, see Connect clips. 3. Select the foreground clip. In the above example, the light stands need to be removed. Final Cut Pro User Guide 590 4. Click the Effects button in the top-right corner of the timeline (or press Command-5). 5. In the Effects browser, double-click a mask effect to apply it to the selected foreground clip. Tip: Type “mask” in the Effects browser search field to quickly find the various mask effects. See Intro to masking. 6. Adjust the edges of the mask to crop out the objects you want to remove. When adjusting the mask, be sure to leave shadows and other details that can help make the key more realistic later. Final Cut Pro User Guide 591 7. Apply the appropriate keyer effect to the foreground clip. The foreground is composited over the background. Use Transform to position the foreground image You can use the Transform effect to reposition a keyed foreground image. 1. Select the foreground clip in the Final Cut Pro timeline. Final Cut Pro User Guide 592 2. Click the pop-up menu in the lower-left corner of the viewer, choose Transform, and move the image to the position you want. You can also resize the image. 3. When you’ve finished repositioning the foreground image, click Done in the viewer. Masking Intro to masking in Final Cut Pro When you draw shapes to create areas of transparency in an image, you are masking that image. Final Cut Pro has a number of powerful masking tools for creating areas of transparency in a video clip or still image. You can use onscreen controls to precisely define the mask area. For example, if you want to isolate a clip’s foreground subject, you can create a detailed mask to cut out the background. You can also animate mask effects to create complex regions of animated transparency that change over time. The following mask effects are available in the Masks category of the Effects browser. Add them to any clip in the timeline just as you would add any other clip effect. With the exception of Draw Mask, all of the following mask effects are considered “simple masks,” with relatively straightforward masking controls. • Draw Mask: Draw a complex custom mask using control points and spline drawing methods to adjust shape and curvature. See Create complex masks and Intro to editing complex masks. • Graduated Mask: Create a mask based on a gradient (from fully transparent to fully opaque). Final Cut Pro User Guide 593 • Image Mask: Create areas of transparency in a clip using a chroma channel, a luma channel, or an alpha channel from a different image. • Shape Mask: Create a mask in any shape on the continuum from ellipse to rectangle. See Create simple shape masks. This is the only simple mask that can be converted to editable control points for making complex custom masks. • Vignette Mask: Create a horizontal ellipse mask with graduated edges. Final Cut Pro also features effect masking. Most clip effects have built-in shape masks and color masks that allow you to isolate and control which areas of the video image are affected by clip effects and color corrections. See Intro to effect masking. Note: Masking blend modes (including Add, Subtract, and Intersect) for combining multiple masks are available for effect masking only. Create simple shape masks in Final Cut Pro The Shape Mask effect allows you to quickly create a mask in any shape on the continuum from ellipse to rectangle. Note: The Shape Mask is the only simple mask that can be converted to editable control points for making complex custom masks (changing it into a Draw Mask). See Create complex masks and Intro to editing complex masks. 1. Add the clip you want to mask to the Final Cut Pro timeline. Note: If you want to composite the clip over a background clip, you must use connected clips. See Connect clips. 2. Select the clip in the timeline, then position the playhead at a point within the clip that shows the area you want to make transparent. 3. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Shape Mask effect. Tip: To quickly find the Shape Mask effect, type “shape” in the Effects browser search field. 5. To apply the mask effect to the clip selected in the timeline, do one of the following: • Drag the effect to the timeline clip. • Double-click the effect thumbnail in the Effects browser. The Shape Mask onscreen controls appear in the viewer, superimposed over the video image. The Shape Mask parameters appear in the Effects section of the Video inspector. By default, the Shape Mask is set to a partially feathered ellipse shape in the center of the frame. Final Cut Pro User Guide 594 6. Use the onscreen controls to adjust the shape mask as needed. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. Or hold down the Option key to adjust one side only. • Control the curvature of the shape: Drag the handle to the left of the inner circle’s top handle. One extreme of the curvature continuum is a perfect rectangle. The other extreme is an oval or a perfect circle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt transition to the background, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. • Hide the mask’s controls: Click the Shape Mask Onscreen Controls button in the Shape Mask area of the Color section of the Video inspector. Note: The Shape Mask is just one of several simple mask effects. For the complete list of Effects browser mask effects, see Intro to masking. Final Cut Pro User Guide 595 Create complex masks Intro to complex masks in Final Cut Pro With the Draw Mask effect, you can draw complex masks using splines. Splines are vectorbased curves that allow for complex, customized shapes. There are two spline drawing methods: • Bezier splines: Bezier splines are good for drawing shapes for illustration. The controls used to manipulate Bezier splines are similar to those found in many other drawing and compositing apps. Bezier controls lend themselves to the creation of precise, detailed shapes. Tangent handles adjust the curvature of the shape on either side of the control point, defining the surface of the shape. • B-Splines: You can also use B-Splines to draw shapes. Unlike Bezier splines, B-Splines are manipulated using only points—there are no tangent handles. Furthermore, the points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. By combining the influence of multiple B-Spline points, you can create different curves. B-Splines are extremely smooth—by default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary. Because B-Spline controls are so simple, they’re easy to animate and manipulate. Final Cut Pro User Guide 596 You can also draw masks with linear control points, which are connected by straight lines. Linear control points are also known as corner points. You can convert control points between linear (corner) points and smooth (Bezier) points at any time. Note: By default, the Draw Mask is set to draw with Bezier shapes. If you prefer to draw your mask with linear or B-Spline shapes, you can adjust this setting in the Video inspector before you get started. Create complex masks in Final Cut Pro You can use the powerful Draw Mask effect to create a complex custom mask using control points and spline drawing methods. You can also convert a Shape Mask to a Draw Mask, to take advantage of its sophisticated controls. Create a complex mask with the Draw Mask effect The instructions below explain how to create a mask using a Bezier spline, the default shape type. If you prefer to draw your mask with linear or B-Spline shapes, you can adjust this setting in the Video inspector before you get started. See Add control points. 1. Add the clip you want to mask to the Final Cut Pro timeline. Note: If you want to composite the clip over a background clip, you must use connected clips. See Connect clips. 2. Select the clip in the timeline, then position the playhead at a point within the clip that shows the area you want to make transparent. 3. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Draw Mask effect. Tip: To quickly find the Draw Mask effect, type “draw mask” in the Effects browser search field. 5. To apply the mask effect to the clip selected in the timeline, do one of the following: • Drag the effect to the timeline clip. • Double-click the effect thumbnail in the Effects browser. Final Cut Pro User Guide 597 6. In the viewer, click to add a control point. A red dot with a white center (indicating a selected control point) appears where you clicked. 7. To add points to further define the shape, do one of the following: • Click to make a linear corner point. • Drag to make a curved Bezier point, adjusting it to the shape you want. Press Shift while making a curved point to constrain its tangents to 45-degree angles. Press Command-Plus Sign (+) to zoom in for a closer look, and Command-Minus Sign (–) to zoom out. Final Cut Pro User Guide 598 8. Continue adding more control points in the viewer to create your detailed mask shape. Red lines appear in the viewer, connecting the control points. 9. To complete the initial mask shape, click the original control point. The area outside the mask shape is filled with solid black, representing the transparent area. If you added a background clip using connected clips, the background image shows through this transparent area. 10. To adjust the mask, do any of the following: • Visually manipulate the mask in the viewer: Drag the onscreen controls in the viewer. • Show or hide onscreen controls and control points in the viewer: Click the Draw Mask Onscreen Controls button in the Draw Mask section of the Video inspector. • Make precise numeric adjustments, including keyframing: Modify the mask settings in the Draw Mask section of the Video inspector. Final Cut Pro User Guide 599 Create a complex mask by converting a Shape Mask You can refine the contours of a Shape Mask by converting it to a Draw Mask with editable control points that allow you to adjust shape and curvature. 1. Add a Shape Mask effect to a clip in the Final Cut Pro timeline. The Shape Mask onscreen controls appear in the viewer. 2. Do one of the following: • Click Convert to Points at the bottom of the Shape Mask section of the Video inspector. • Control-click the Shape Mask onscreen controls in the viewer and choose Convert to Points. Red control points appear in the viewer, in place of the Shape Mask onscreen controls. In the Video inspector, the Shape Mask section changes to a Draw Mask section. Note: If you animated the Radius or Curvature parameter in the original Shape Mask, a dialog appears asking you to confirm the conversion. The animation is discarded after the shape is converted. Final Cut Pro User Guide 600 3. To adjust the mask, do any of the following: • Visually manipulate the mask in the viewer: Drag the control points in the viewer. • Show or hide onscreen controls and control points in the viewer: Click the Draw Mask Onscreen Controls button in the Draw Mask section of the Video inspector. • Make precise numeric adjustments, including keyframing: Modify the mask settings in the Draw Mask section of the Video inspector. Note: After the control points become available, you can’t convert the mask back to a simple shape mask. Use multiple masks in Final Cut Pro Occasionally, it may be necessary to apply multiple masks to the same image. For example, if you’re masking an image of a car, you might draw separate masks for different parts of the car: roof and windows, the lower body, and so on. It’s easier to divide the car into parts, draw separate masks for each part, and composite the masks together at the end than to draw an accurate car shape in one mask. You can apply any combination of Shape Masks and Draw Masks. Note: Mask blend modes are available for effect masking only. Dragging multiple instances of the Draw Mask or the Shape Mask to the same clip creates the equivalent of the Intersect blend mode in the effect masking feature. In Intersect mode, only the area inside the mask shape that overlaps with other mask shapes is affected. See Combine multiple effect masks. The instructions below explain how to create the equivalent of Add mode, in which multiple mask shapes are merged. 1. Add the clip you want to mask to the Final Cut Pro timeline. 2. Duplicate the clip as a connected clip directly above the original clip. Tip: To quickly duplicate the original clip and position it at the same time, Optiondrag the clip to the area just above the primary storyline. 3. Apply a mask to the connected clip. Tip: To get a better view of your mask as you create it, you can temporarily disable the other clip by selecting it and pressing V. To reenable the clip, press V again. 4. Apply a mask to the original clip. The two mask shapes are effectively merged. Final Cut Pro User Guide 601 5. To add any additional masks, repeat steps 2 and 3. Edit complex masks Intro to editing complex masks in Final Cut Pro Complex masks are defined by Bezier splines and B-Splines, which are built with control points. Each control point in a complex mask defines some sort of corner or curve, and the actual spline that makes up the shape connects these control points together like a connect-the-dots drawing. The control points determine the shape and curvature of the spline. You can modify a spline by dragging its control points and adjusting the tangent handles attached to each control point. You can transform multiple control points simultaneously, and you can add, delete, and lock control points. Add mask control points in Final Cut Pro You draw the shape of your complex mask by adding and adjusting control points. The default drawing shape type is Bezier, but you can change the shape type before creating the mask if you want to draw with a linear or B-Spline shape instead. Set the shape type to Bezier, linear, or B-Spline It’s best to set the shape type in the Video inspector before you create your mask. Changing the type in the middle of drawing your mask may radically alter the shape. 1. Add a Draw Mask effect to a clip in the Final Cut Pro timeline, then select the clip. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 602 3. Click the Video button at the top of the inspector. 4. In the Draw Mask section of the Video inspector, click the Shape Type pop-up menu and choose the type of mask shape you want to use: Linear, Bezier, or B-Spline. Add control points to a Draw Mask In the Final Cut Pro viewer, do one of the following: • Option-click or double-click the edge of a mask. Note: To add control points to a B-Spline mask, Option-click or double-click the B-Spline frame’s edge rather than the edge of the mask itself. • Control-click the edge of a mask and choose Add Point. Delete control points from a Draw Mask If a mask has more control points than are necessary, you can delete points to make it easier to edit. This can be helpful if you animate the mask later on. 1. In the Final Cut Pro viewer, select the control points to delete. 2. Do one of the following: • Choose Edit > Delete. • Control-click the selected points and choose Delete Point. • Press Delete. The mask shape is updated in the viewer. If you remove points from a closed mask, the mask remains closed. Lock and disable mask control points in Final Cut Pro There are many ways to select and deselect control points that you want to modify. You can also lock control points to prevent changes, or disable them to temporarily remove them from a mask shape. Final Cut Pro User Guide 603 Select control points In the Final Cut Pro viewer, do one of the following: • Click any control point. • Shift-click unselected control points to add them to the selection. • Shift-drag a selection rectangle around unselected control points in a closed mask to add them to the selection. • Drag a selection rectangle over multiple control points in a closed mask. Deselect control points In the Final Cut Pro viewer, do one of the following: • Shift-click selected points. • Shift-drag a selection rectangle over selected points. Select or deselect every control point on a mask In the Final Cut Pro viewer, do one of the following: • Select all of a mask’s control points: Choose Edit > Select All (or press Command-A). • Deselect all of a mask’s control points: Choose Edit > Deselect All (or press ShiftCommand-A). You can also click anywhere outside the selected mask in the viewer. Display the control point number By default, mask control points are numerically labeled in the order in which they were created in the viewer. • In the Final Cut Pro viewer, position the pointer over any control point in a closed mask. The numeric name of the control point appears—“Control Point 1,” for example. Note: Draw Mask control points are also listed by number in the Draw Mask section of the Video inspector. Lock control points You can lock control points in a mask to fix them in place and prevent accidental changes. • In the Final Cut Pro viewer, Control-click a control point and choose Lock Point. To unlock a locked control point, Control-click it and choose Unlock Point. Final Cut Pro User Guide 604 Disable control points Disabling a control point in a Draw Mask is similar to disabling a clip in the timeline: The control point is temporarily removed from the mask but retains its position and its number in the sequence of control points. You can just as easily reenable control points. • In the Final Cut Pro viewer, Control-click a control point and choose Disable Point. To enable a disabled control point, Control-click it and choose Enable Point. Move mask control points in Final Cut Pro You can move control points in the viewer to change the shape of your mask. Drag selected control points • Select control points on a mask in the Final Cut Pro viewer, then drag the points to a new position. As you drag selected control points, the rest of the mask stretches or curves to accommodate the change. Note: When you drag a control point, the point’s name and coordinates are displayed at the top of the viewer. Move a selected control point by one pixel 1. Select a control point on a mask in the Final Cut Pro viewer. 2. Do any of the following: • Nudge left: Press Comma (,). • Nudge right: Press Period (.). • Nudge up: Press Option-Up Arrow. • Nudge down: Press Option-Down Arrow. Constrain the movement of selected control points 1. Select control points on a mask in the Final Cut Pro viewer. 2. Press Shift while you drag a selected point horizontally, vertically, or diagonally. The control point movement is constrained to the horizontal (90-degree), vertical (180-degree), or diagonal (45-degree or 135-degree) axis. Final Cut Pro User Guide 605 Move control points using the Video inspector You can make precise adjustments to the position of any control point using controls in the Video inspector. 1. In the Final Cut Pro timeline, select the clip containing the mask you want to modify. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. In the Draw Mask section of the Video inspector, click the Control Points disclosure triangle to open the Control Points controls. 5. Make numerical adjustments to the X and Y coordinates for any control point using the value sliders. Position, rotate, and scale a mask 1. In the Final Cut Pro timeline, select the clip containing the mask you want to modify. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. Final Cut Pro User Guide 606 4. In the Draw Mask section of the Video inspector, click the Transforms disclosure triangle to open the Transforms controls. 5. Adjust the Position, Rotation, and Scale parameters to precisely define the shape, size, and position of your mask. Move a mask edge You can change a mask shape by dragging its edges. 1. In the Final Cut Pro viewer, click any edge of a mask. The control points on either end of the line are selected. 2. Drag the line segment. The distance between the two points remains constant as you drag. Press Shift to constrain the movement horizontally, vertically, or diagonally. Edit Bezier control points in Final Cut Pro You can adjust Bezier control points to draw any mask shape you may need. Each point in a Bezier shape can be converted between a linear (corner) point and a smooth (Bezier) point at any time. For more information about smooth and linear points, see Intro to complex masks. Convert control points between corners and curves On a mask in the Final Cut Pro viewer, do any of the following: • Command-click a smooth (Bezier) point to turn it into a linear (corner) point. • Command-drag a linear (corner) point to turn it into a smooth (Bezier) point, creating adjustable tangent handles. • Control-click selected points and choose either Linear, Smooth, or Very Smooth (for B-Splines) to change the control point type. Adjust a Bezier curve using a control point’s tangent handles Bezier control points on a mask in the viewer have two tangent handles that you use to adjust the curvature of the shape on either side of the control point. These handles can be adjusted in various ways to create symmetrical and asymmetrical curves. By default, these tangent handles are locked to one another at an angle of 180 degrees, but you can override this restriction to adjust each tangent handle independently. Final Cut Pro User Guide 607 In Final Cut Pro, do any of the following: • Adjust the length of a tangent handle: Drag the handle. You can adjust the length of each tangent handle independently even when the tangent handles are locked to 180 degrees. • Break the relationship between opposing tangent handles: Option-drag either tangent handle. After this relationship is broken, adjustments to one tangent handle have no effect on the other, and you can rotate both tangent handles freely. You can also Control-click a tangent handle point and choose Break Handle. • Lock the angle of the tangent handles together again: Option-drag a broken tangent handle, or Control-click a handle point and choose Link Handle. The tangent handles now maintain their relationship when moved and rotated. • Align the tangent handles to a 180-degree angle: Control-click a handle point and choose Align Handles. Press Shift while you adjust a tangent handle to constrain its movement to 45-degree angles. To simultaneously modify the handles for more than one control point, Shift-select the points (on the same spline) and then adjust the tangent handles. Final Cut Pro User Guide 608 Edit B-Spline control points in Final Cut Pro Editing control points in B-Spline shapes is similar to editing control points in Bezier shapes. In fact, the steps for selecting, moving, adding, deleting, and locking control points are almost exactly the same. The main difference in editing the two types of shapes lies in how you manipulate and adjust curves. The simplest, and usually fastest, way to manipulate B-Spline curves is to move B-Spline points closer to or farther from one another. When B-Spline points are moved closer to one another, a sharper curve is created. B-Spline points that are farther from one another create shallower curves. Each B-Spline control point tugs on a section of the shape, pulling it toward itself. For this reason, you manipulate a shape’s curve by moving its control points in the direction you want to pull the shape. For example, notice how every control point creating the S curve below is offset in the direction of the curve it influences. By default, B-Spline shapes have no corners. However, you can adjust the amount of curvature at each B-Spline control point to create sharper curves using fewer control points. (You can even create corners at a single point, if necessary.) The easiest way to adjust B-Spline point curvature is by Command-dragging the control point. You can also switch between three preset degrees of curvature. 1. In the Final Cut Pro viewer, Command-drag selected B-Spline control points. A handle appears indicating the adjustment you’re making. Note: After the handle appears, you can modify the curve without using the Command key. Final Cut Pro User Guide 609 2. Do any of the following: • Make the curve progressively sharper: Drag away from the point. • Make the curve progressively looser: Drag toward the point. • Switch between three progressively sharper degrees of curvature: Command-click the handle. Alternatively, you can Control-click a B-Spline point and choose either Very Smooth, Smooth, or Linear. Animate a mask in Final Cut Pro As with many effects and titles in Final Cut Pro, you can animate simple and complex masks using keyframes. For more information about animating effects using keyframes, see Intro to video keyframing. 1. Add a simple mask effect or a Draw Mask effect to a clip in the Final Cut Pro timeline. 2. Select the clip, then position the playhead in the timeline where you want the animation to begin. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. To create the starting shape of your animated mask, do one of the following: • Adjust the onscreen controls in the viewer. • Adjust the mask controls in the Video inspector. Final Cut Pro User Guide 610 6. To add keyframes for the starting shape of your animated mask, do one of the following in the Video inspector: • Add a keyframe for a single parameter: Move the pointer over the area to the right of the parameter you want to animate, then click the Keyframe button that appears. • Add a keyframe to every mask effect parameter: Move the pointer over the far-right side of the effect heading, click the down arrow that appears, and choose Add from the pop-up menu. After you add a keyframe, the Keyframe button changes to yellow, indicating that the playhead is positioned on this keyframe. 7. In the timeline, move the playhead to the next point where you want to define the mask shape, and repeat steps 4 and 5. Final Cut Pro adds a keyframe for the parameters you adjusted, and the Keyframe button changes to yellow. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 8. Continue adjusting the mask shape and adding keyframes as needed. To see the effect of your animation, play the clip. Final Cut Pro User Guide 611 If you’re animating a Draw Mask, you can keyframe its control points numerically in the Video inspector. To reveal these parameters, click the Control Points disclosure triangle at the bottom of the Draw Mask section of the Video inspector. See Mask controls. Mask controls in Final Cut Pro The Shape Mask and Draw Mask controls appear in the Video inspector. You use these controls to adjust how the mask is drawn and how each mask operates upon an image. You can also fine-tune mask control point positions. Shape Mask controls The Shape Mask contains the following adjustable controls: • Radius: A slider that changes the mask’s size. • X: A slider that adjusts the width of the mask. • Y: A slider that adjusts the height of the mask. • Curvature: A slider that changes the mask shape. One extreme of the curvature continuum is a perfect rectangle. The other extreme is an oval or a perfect circle. • Fill Opacity: A slider that adjusts the opacity of the image inside the mask selection. • Invert Mask: A checkbox that, when selected, reverses the mask—swapping its solid and transparent areas. • View: A pop-up menu that switches between the original image and the masked image (with its transparent areas). • Feather: A slider that feathers (softens) the edges of the mask. Positive feathering values soften the mask from its edge outward. Negative feathering values soften the mask from its edge inward. Feathering the edge of a mask can make the masked object blend better with the background. Final Cut Pro User Guide 612 • Falloff: A slider that controls how “steep” the feathering is. Higher values result in feathering that’s pushed farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. • Transforms: A set of controls for adjusting the position, rotation, and size of your mask effect. To show the controls, click the Transforms disclosure triangle. • Position X and Y: Controls that move the mask left and right (X) and up and down (Y). • Rotation: A dial control that rotates the mask around its anchor point. • Scale: A slider that changes the mask’s size as a percentage of the default mask size. You can also scale the mask along a single axis. To show the controls, click the Scale disclosure triangle. • Scale X and Y: Controls that scale the mask left and right (X) and up and down (Y). • Control Points: When a Shape Mask is selected, the Convert To Points button is available. Click this button to convert a Shape Mask to a Draw Mask with editable control points. Draw Mask controls The Draw Mask contains the following adjustable controls: • Shape Type: A pop-up menu that sets the type of control points used to define the mask. For example, if you originally created a Bezier mask, you can choose B-Spline from this menu to change how the mask is drawn. Changing the shape type might dramatically change the mask’s form even though its control points remain fixed at their original coordinates. There are three options: • Linear: All of a mask’s control points are joined by hard angles, and the resulting mask is a polygon. The control points of a Linear mask lie directly on its edge. • Bezier: Control points can be a mix of Bezier curves and hard angles, creating any sort of mask. The control points of a Bezier mask lie directly on its edge. • B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie outside the surface of the mask but are connected by the B-Spline frame. Final Cut Pro User Guide 613 • Fill Opacity: A slider that adjusts the opacity of the image inside the mask selection. • Invert Mask: A checkbox that, when selected, reverses the mask—swapping its solid and transparent areas. • View: A pop-up menu that switches between the original image and the masked image (with its transparent areas). • Feather: A slider that feathers (softens) the edges of the mask. Positive feathering values soften the mask from its edge outward. Negative feathering values soften the mask from its edge inward. Feathering the edge of a mask can make the masked object blend better with the background. • Falloff: A slider that controls how “steep” the feathering is. Higher values result in feathering that’s pushed farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. • Transforms: A set of controls for adjusting the position, rotation, and size of your mask effect. To show the controls, click the Transforms disclosure triangle. • Position X and Y: Controls that move the mask left and right (X) and up and down (Y). • Rotation: A dial control that rotates the mask around its anchor point. • Scale: A slider that changes the mask’s size as a percentage of the default mask size. You can also scale the mask along a single axis. To show the controls, click the Scale disclosure triangle. • Scale X and Y: Controls that scale the mask left and right (X) and up and down (Y). • Control Points: When a Draw Mask is selected, click the disclosure triangle to display a list of the position parameters for the mask control points. Use the value sliders to adjust the position of control points. The left value slider represents X, and the right value slider represents Y. Move the pointer over the Control Points heading to display a single Keyframe button (at the far right) that affects all the points, letting you add keyframes, reset the mask’s animation, display the animation curve in the Video Animation editor, and so on. See Animate a mask and Intro to video keyframing. Final Cut Pro User Guide 614 Compositing Intro to compositing in Final Cut Pro There are times when you need to combine two clips to create an image with bits of both. Compositing refers to combining parts of two or more video clips into a single image. There are a number of ways to combine video images in Final Cut Pro: • Transitions: All video transitions involve combining the end of one clip with the start of a second clip, which results in a combination of the two clips appearing at the same time during the transition. See How transitions are created. • Keying: All keys involve compositing a foreground image over a background image. See Intro to keying. • Alpha channels: Many computer-generated video clips have an alpha channel—a built-in mask—that defines precisely the areas of the clip that are composited over a background clip. These require no key setup and generally just automatically work. Alpha channels are widely used for effects (such as Transform and Distort), generators (such as Shapes and Timecode), and titles. • Compositing: Each video clip in the timeline has a set of Compositing settings. These settings allow you to combine clips without using the key effects. Use alpha channels in Final Cut Pro Alpha channels provide an easy way to composite one image over another. You can create still images and video clips that have alpha channels using an app such as Motion, an Apple app designed to work with Final Cut Pro. Alpha channels can be thought of as having a built-in keyer—when you use the key effects, you’re creating a mask that’s used in the same way that a clip with an alpha channel is used for compositing. Final Cut Pro User Guide 615 Below is an example of a clip with an alpha channel, showing the image that fills the alpha channel. Below is the alpha channel image—the white areas define the video areas that are composited over the background. Any gray areas would define parts of the image that are partially transparent. This is what the final composite looks like over a background clip. Final Cut Pro User Guide 616 Use a clip with an alpha channel 1. Position the playhead in the Final Cut Pro timeline where you want to add the alpha channel clip. 2. Select the clip with the alpha channel in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips, position the playhead within the clip that was just added above the primary storyline. The clip is composited over the primary storyline video clip, with the alpha channel controlling the opacity of its clip. You can also use the Opacity adjustment’s fade handles to dissolve the foreground clip on and off. See Use Compositing settings. Use Compositing settings in Final Cut Pro The Compositing settings provide a wide variety of options for combining two images. You can make a simple adjustment to evenly combine two images, or you can choose from settings that use the video content to determine how to combine the images. Use the Opacity adjustment 1. Position the playhead in the Final Cut Pro timeline where you want to add a clip above the primary storyline. 2. Select the clip to add in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips in the viewer, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip in the primary storyline. 4. To make the new clip partially transparent, select it in the timeline and adjust the Opacity control in the Compositing section of the Video inspector. Final Cut Pro User Guide 617 The closer the Opacity setting is to 0 percent, the more transparent the clip above the primary storyline becomes. You can also use the Opacity fade handles in the Video Animation editor to have the composited clip dissolve on and off, or you can add keyframes to have the opacity value change at specified points. Choose a blend mode 1. Position the playhead in the Final Cut Pro timeline where you want to add a clip above the primary storyline. 2. Select the clip to add in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips in the viewer, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip in the primary storyline. 4. Click the Blend Mode pop-up menu in the Compositing section of the Video inspector, then choose an option. There are many blend mode settings to choose from—the correct one to use depends on the video content and the look you’re aiming for. You can also use adjust the Opacity control to make the blend mode setting more subtle. Tracking Intro to object tracking in Final Cut Pro In Final Cut Pro, you can record the movement of an object in a video clip and then apply that recorded movement data to another item, such as a video effect, title, logo, or image. The result is an animation in which the item follows the tracked object in the original clip. For example, you can use object tracking to: • Track a blurry circle to a person’s face to preserve someone’s anonymity • Add a glow effect to the jet engines of an airplane streaking through the sky • Track the names of swimmers to their moving bodies as they compete in a swim meet In Final Cut Pro, setting up object tracking is as easy as dragging a title, image, or effect to the viewer. Final Cut Pro User Guide 618 How does object tracking work in Final Cut Pro? When you drag a clip (such as a title, generator, or still image) or an effect to the viewer, Final Cut Pro suggests an object or area of pixels in the background clip (known as a reference pattern) to “lock onto” as the object moves across the viewer. Ideally, the reference pattern should be a consistent, easily identifiable detail with high contrast. This makes the pattern easier to track. When you drag the clip or effect to a suggested object, an onscreen tracker appears with controls you can use to adjust the area you want to track. In the second step of tracking, Final Cut Pro analyzes the motion of the designated reference pattern. Final Cut Pro uses two analysis methods (algorithms) to do the calculations for object tracking: • Point Cloud: The Point Cloud method samples many positions in the search region around the center point of the tracker. Some of those positions fit the designated reference pattern more closely than others; the tracker finds the position where the search region most closely matches the reference pattern (with subpixel accuracy). For every frame analyzed, the tracker assigns a correlation value by measuring how close the best match is. In addition to searching for the reference pattern’s position, the tracker identifies how the pattern transforms (scales, rotates, or distorts) from one frame to the next. Imagine you’re tracking a logo on the shirtsleeve of a person walking past the camera. If the person turns slightly as they pass the camera, the reference pattern rotates. The tracker looks for the reference pattern and any shifts in that pattern’s scale or rotation. • Machine Learning: Final Cut Pro uses a machine learning model trained on a data set to follow objects in a specified region of video. On systems with an Apple Neural Engine, this portion of the algorithm is accelerated. The machine learning model draws a bounding box around any object it identifies. This method can recognize people, animals, and many common objects. As it analyzes motion in your project, Final Cut Pro records the data, which you can then apply to any other item (such as a clip, title, image, or effect shape mask) in your project, effectively creating a motion track. Final Cut Pro User Guide 619 Track an effect to a moving object in Final Cut Pro In Final Cut Pro, you can track the shape mask of a video effect (such as a blur, highlight, or color effect) to a moving object in a video clip. Track an effect to a moving object 1. In Final Cut Pro, position the playhead in the timeline so that the object or face that you want to track appears in the viewer. For the best results, make sure the object is in focus and has details with high contrast. 2. Open the Effects browser. 3. In the Effects browser, locate the effect you want to use and drag the effect to the viewer. As you drag the effect over the viewer, rectangles appear over objects in the video clip and oval shapes appear over faces, indicating items whose motion can be tracked. 4. When a rectangle or oval shape appears over the object or face you want to track, release the mouse or trackpad button. Final Cut Pro User Guide 620 An onscreen tracker appears on the object in the video, and the effect is applied to the same area of the image. 5. Optionally, drag the sides and the corners of the grid to further fit the tracker to the object or face you want to track. Tip: Fit the grid to the target object as tightly as possible, or even consider picking just a part of the object you want to track. (If the grid includes too much information in the background, it could potentially confuse the tracker.) 6. Confirm that Tracker is selected at the top of the viewer. 7. In the upper-left corner of the viewer, click one of the following buttons: • Analyze: Final Cut Pro tracks forward from the playhead position, then tracks backward before the playhead until the entire clip has been analyzed. • Left arrow: Final Cut Pro analyzes the portion of the clip before the playhead position only. • Right arrow: Final Cut Pro analyzes the portion of the clip after the playhead position only. Final Cut Pro adds a shape mask to the effect that matches the bounding box of the tracker, and the tracking data from the analysis is applied to the shape mask. See How does object tracking work? 8. To view the tracking effect, position the skimmer (or the playhead) at the start of the clip in the timeline, then press the Space bar to play the clip. You can repeat the steps above (with the same effect or a different effect) to track other objects in the same clip. Adjust the shape mask of a tracking effect 1. In the Final Cut Pro timeline, position the playhead in a clip that has an effect tracking an object, so that the effect appears in the viewer. Final Cut Pro User Guide 621 2. Click Shape at the top of the viewer, then use the onscreen controls to adjust the effect’s shape mask. See Add a shape mask to a video effect. If you make changes to the shape mask after the tracking analysis described in Track an effect to a moving object is complete, the changes will overwrite the existing tracking keyframe at the playhead location, which may cause an interruption in the tracking animation. To avoid this, you can do one of the following: • Unlink the shape mask from the tracker before adjusting the shape mask. See Offset the position of a tracking effect. • Reset the tracking keyframes for the entire clip (or a section of the clip). See Add, rename, reset, delete, or duplicate motion tracks. Track an image or other clip to a moving object in Final Cut Pro You can track an image or other clip (such as a title, generator, or video clip) to a moving object in a video clip. In the examples below, a title is tracked to moving motorcycles. Track an image or other clip to a moving object 1. In Final Cut Pro, position the playhead in the timeline so that the object or face that you want to track appears in the viewer. For the best results, make sure the object is in focus and has details with high contrast. Final Cut Pro User Guide 622 2. In the browser, locate the image or other clip you want to use, then drag it to the viewer. As you drag the item over the viewer, rectangles appear over objects in the video clip and oval shapes appear over faces, indicating objects or regions that can be tracked. 3. When a rectangle or oval shape appears over the object or face you want to track, release the mouse or trackpad button. An onscreen tracker appears on the object in the viewer, and the item you dragged is superimposed on the clip. By default, the item you dragged (a title, in this example) is offset from the tracker area. See Offset the position of a tracking effect. 4. Optionally, drag the sides and the corners of the grid to further fit the tracker to the object or face you want to track. 5. Confirm that Tracker is selected at the top of the viewer. Final Cut Pro User Guide 623 6. In the upper-left corner of the viewer, click one of the following buttons: • Analyze: Final Cut Pro tracks forward from the playhead position, then tracks backward before the playhead until the entire clip has been analyzed. • Left arrow: Final Cut Pro analyzes the portion of the clip before the playhead position only. • Right arrow: Final Cut Pro analyzes the portion of the clip after the playhead position only. Final Cut Pro applies the tracking data from the analysis to the clip. See How does object tracking work? 7. To view the tracking effect, position the skimmer (or the playhead) at the start of the clip in the timeline, then press the Space bar to play the clip. You can track multiple moving objects in a single clip, and you can track multiple images or other clips to a single moving object. See Assign an effect or clip to an existing motion track. Resize, move, or rotate a tracking clip 1. In the Final Cut Pro timeline, position the playhead in a clip that has an effect tracking an object, so that the clip appears in the viewer. Final Cut Pro User Guide 624 2. Click Transform at the top of the viewer, then use the onscreen controls to resize, move, or rotate the superimposed image. See Resize, move, and rotate clips. You can keyframe any transform effects independently of the tracking keyframes, which creates additional animation on top of the object tracking transforms. See Animate built-in effects. Offset the position of a tracking effect in Final Cut Pro By default, when you track an effect to a moving object, the target area on the object that you’re tracking is identical to the area of the effect’s shape mask. However, if the area you want the shape mask to affect is different from the area defined by the tracker, you can unlink, or offset, the effect shape from the tracker target area. This allows you to adjust the shape or position of the effect independently of the tracked object. Note: By default, when you track an image or other clip to a moving object, the clip is already unlinked and positionally offset. See Track an image or other clip to a moving object. 1. In Final Cut Pro, select the clip in the timeline, then position the playhead so that the clip appears in the viewer. 2. Open the Video inspector. 3. In the Effects section of the Video inspector, select the shape mask of the effect that you’re tracking to the video clip. The onscreen tracker appears in the viewer. 4. Click the Unlink button. The effect’s shape mask is unlinked from the motion-tracked object. In the example below, the blur effect’s shape mask is unlinked from the tracker. Final Cut Pro User Guide 625 You can now reposition or resize the effect independently of the tracker. You can also keyframe any transform effects independently of the tracking keyframes. See Animate built-in effects. Adjust object tracking in Final Cut Pro When you track effects or clips (such as images or titles) to moving objects in video clips, Final Cut Pro analyzes the motion of the objects in the video clips and generates object tracking data in the form of keyframes. See How does object tracking work? You can edit tracking keyframes for one or more motion tracks on a video clip. You can also rename, reset, delete, and duplicate motion tracks. Edit tracking keyframes in the timeline You can use the Tracking Editor in the timeline to add or remove keyframes in a motion track. 1. Select the clip in the Final Cut Pro timeline. 2. To open the Tracking Editor, do one of the following: • Choose Clip > Show Tracking Editor (or press Option-Command-T). • Control-click the clip in the timeline and choose Show Tracking Editor. 3. In the Tracking Editor, do any of the following: • Select a region of tracking keyframes: Click once on a light blue region. • Select an empty region: Click once on a region with no tracking keyframes. • Select a range: Drag to select the range. • Select a single frame: Double-click the frame. Final Cut Pro User Guide 626 4. Do one of the following: • Generate new tracking keyframes: Click Analyze. • Remove keyframes: Click Delete. This resets the motion track but doesn’t delete it. You can also edit tracking keyframes in the Video inspector, which is similar to editing video effect keyframes. See Edit tracking keyframes in the Video inspector. When filling a gap between existing tracking keyframes, Final Cut Pro interpolates the difference between them (as it does with video animation keyframes). Edit tracking keyframes in the Video inspector You can edit tracking keyframes in the Video inspector, which is similar to editing video effect keyframes or editing audio effect keyframes. 1. In Final Cut Pro, track an effect or an image (or other clip) to a moving object in a video clip. See Track an effect to a moving object or Track an image or other clip to a moving object. 2. Select the clip in the timeline, then position the playhead on the clip so that the frame you want to change appears in the viewer. 3. Click Analyze to generate tracking keyframes. See Edit tracking keyframes in the timeline. 4. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 5. Click the tracker name to select the tracker. 6. Do any of the following: • Show onscreen controls in the viewer: Click the Onscreen Controls button. Final Cut Pro User Guide 627 • Navigate between keyframes: Click the left arrow to move the playhead to the previous keyframe. Click the right arrow to move the playhead to the next keyframe. • Add or remove keyframes: Click the Keyframe button. Important: Before adding any keyframes in this way, make sure that linking is enabled, so that keyframes are added to both the motion track and the item (effect shape mask, image, or other clip) tracking the object in the clip. See Offset the position of a tracking effect. Note: When you make a change using the onscreen controls, Final Cut Pro adds a keyframe automatically. You can also click the down arrow on the right end of the tracker and choose one of the following from the Keyframes section of the pop-up menu: • Add: Adds a keyframe at the playhead location. • Delete: Deletes the keyframe at the playhead location. • Previous: Moves the playhead to the previous keyframe. • Next: Moves the playhead to the next keyframe. Add, rename, reset, delete, or duplicate motion tracks 1. Select the clip in the Final Cut Protimeline. 2. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 3. Do any of the following: • Add a tracker: Click the New Tracker button (+) at the top of the Trackers section. • Rename a tracker: Double-click the name and enter a new name. • Reset, delete, or duplicate a tracker: Click the down arrow on the right end of the tracker and choose one of the following: • Reset Tracker: Removes all keyframes from the tracker. You can also remove keyframes using the Tracking Editor. See Edit tracking keyframes in the timeline. • Delete Tracker: Deletes the tracker. • Duplicate Tracker: Makes a copy of the tracker and appends the word “Copy” to the name of the copy. Final Cut Pro User Guide 628 Change the tracking analysis method in Final Cut Pro Final Cut Pro uses two analysis methods (algorithms) to do the calculations for object tracking. You can choose one method or use a combination of both. For more information, see How does object tracking work? Important: When you change the analysis method for a motion track, the new method doesn’t take effect until you delete the existing keyframes for the motion track and reanalyze the clip. 1. In the Final Cut Protimeline, select the clip whose tracking analysis method you want to change. 2. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 3. In the inspector, click the Analysis Method pop-up menu for the tracker you want to change, then choose one of the following: • Automatic: Final Cut Pro chooses the most suitable analysis method. • Combined: Final Cut Pro uses a combination of the Machine Learning and Point Cloud methods. • Machine Learning: Choose this option for tracking common objects (such as animals, cars, faces, trees, household objects, and so on). This algorithm excels at recognizing common objects because it is trained on many and varied examples of these objects in advance. The Machine Learning method can also overcome moderate occlusion, in which the tracked object passes behind another object. For example, if a tracked object passes behind a tree for a few frames, the Machine Learning method can continue tracking the object on the other side of the tree. • Point Cloud: Choose this option when you need precise tracking of a specific set of pixels that you define using the tracker’s onscreen controls in the viewer. Point Cloud is good for tracking regions that are rigid and somewhat flat (from the camera’s point of view). If you’re using the Machine Learning method and see jitter on the motion track (the bounding rectangles around recognized objects jump from one size to another), try switching to the Point Cloud method. Its bounding rectangles are much less susceptible to quick changes. 4. In the Video inspector, click the down arrow next to the tracker and choose Reset Tracker from the pop-up menu. The existing keyframes for the motion track are removed. For more information, see Adjust object tracking. 5. With the clip selected in the timeline, do one of the following to reanalyze the clip: • Click Analyze in the upper-left corner of the viewer. • Click the Tracking Editor in the timeline, then click Analyze. If the Tracking Editor isn’t shown, choose Clip > Show Tracking Editor (or press Option-Command-T). Final Cut Pro performs the analysis using the method you chose, and renders the new tracking keyframes for the track. Final Cut Pro User Guide 629 Create motion tracks manually in Final Cut Pro In Final Cut Pro, you can manually create motion tracks, and you can assign effects or clips to existing motion tracks. In certain workflows, you may have to create a motion track independently of the asset (the effect or clip) that you want to assign to it. For example, you might need to create the motion track while you’re waiting for the final asset to be created. Or perhaps you want to add an image or clip to a previously created motion track. Create a motion track independent of any effect or clip You can create motion track without having to drag an effect or a clip (such as a title, logo, generator, or still image) to the viewer. 1. In Final Cut Pro, add a clip to the timeline and select it. 2. Position the playhead so that the clip appears in the viewer. 3. Open the Video inspector, then scroll to the Trackers section. 4. Click the New Tracker button (+) at the top of the Trackers section. The new tracker appears in the the Trackers section of the inspector, and an onscreen tracker appears in the viewer. 5. Position the tracker over the object that you want to track. If necessary, you can use the onscreen controls to better fit the tracker to the object. Tip: To use machine learning to recognize objects or regions of potential interest for tracking, press the Option key while dragging the tracker in the viewer. As you drag, the tracker snaps to suggested images, objects, and faces in the video. 6. Click Analyze. Final Cut Pro analyzes motion in the clip and generates keyframes for the new motion track. You can connect this motion track with any effect shape mask or image (or other clip) on the same clip. See Assign an effect or clip to an existing motion track, below. Assign an effect or clip to an existing motion track After Final Cut Pro has analyzed a video clip and generated object tracking data for it, it’s easy to reuse the tracking data with other effects or clips (such as images, titles, generators, or video clips). You can connect any effect shape mask or clip to an existing motion track on the same clip (or on a connected clip at the same playhead location). 1. In the Final Cut Pro timeline, select a clip that has been analyzed for object tracking and has existing tracking keyframes. 2. Position the playhead so that the clip appears in the viewer. Final Cut Pro User Guide 630 3. Do one of the following: • Assign an effect shape mask: Open the Video inspector and select the shape mask in the Effects section. • Assign an image (or other clip): Track an image or other clip to a moving object. • Assign a connected clip: Select any connected clip at the same playhead location as the clip you selected in step 1, then click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). For more information, see Resize, move, and rotate clips. An onscreen tracker appears in the viewer. 4. At the top of the viewer, click the down arrow to the right of the Tracker button and choose a previously created motion track from the Tracker Source pop-up menu. The effect shape mask or clip is assigned to the motion track you chose. You can adjust the shape or position of the item without affecting the tracking data. See Offset the position of a tracking effect. Final Cut Pro User Guide 631 Color correction Intro to color correction in Final Cut Pro In any post-production workflow, color correction is generally one of the last steps in finishing an edited program. There are a number of reasons to color correct your footage: • Balance all the shots in a scene to match. • Correct errors in color balance, exposure, and white-balance. • Make sure that key elements in your program, such as skin tones, look the way they should. • Achieve a look, such as making the scenes warmer or cooler. • Create contrast or special effects by manipulating the colors and exposure. Final Cut Pro color correction tools give you precise control over the look of every clip in your project, including still images, by letting you adjust each clip’s color balance, shadow levels, midtone levels, highlight levels, and more. In Final Cut Pro, you can: • Automatically balance colors: With one click, neutralize any color casts and maximize image contrast. See Intro to balancing color. • Automatically match a clip’s color and look: With two clicks, make one or more clips match the color look of any clip that you choose. See Match color between clips. Final Cut Pro User Guide 632 • Automatically white-balance a clip: Use an eyedropper to define a white or neutral gray highlight in a clip and instantly remove an unwanted color cast. See Manually whitebalance clips. • Manually adjust color, saturation, and exposure: Manually correct a clip’s overall color. You can even add multiple manual color corrections to one clip. See Intro to color correction effects. • Target specific colors or areas: Use color or shape masks to limit a correction to a particular color range or area in the image. See Add a color mask and Add a shape mask. • Save color correction settings and apply them to other clips: Save a clip’s color correction settings and apply them to other clips in the project or in other projects. See Save color correction presets. Although these methods are independent of one another—you can turn any of the corrections off and on to see their effect—the order in which you use them matters. In general, you should use these tools in the order of Balance Color (including white-balance corrections), Match Color, and (if necessary) manual color correction. Final Cut Pro also includes several video scopes you can use when manually color correcting your video. The scopes make it possible to precisely monitor the luma and chroma levels of your video clips. Quickly balance and match color Intro to balancing color in Final Cut Pro Final Cut Pro includes several handy color-balancing features that you can use to quickly and easily improve the look of your video clips. Automatic color balance When you balance color automatically, Final Cut Pro samples the darkest and lightest areas of the image’s luma channel and adjusts the shadows and highlights in the image to neutralize any color casts. In addition, Final Cut Pro adjusts the image to maximize contrast, so that the shot occupies the widest available luma range. The video frame used as the reference frame depends on the position of the playhead and whether the clip has been analyzed for color balance. See Balance a clip’s colors and Analyze a clip for color . Manual white balance You can set the color balance of a clip by sampling a part of the image that should be pure white. See Manually white-balance clips. Match color You can ensure that multiple clips have the same look. See Match color between clips. Final Cut Pro User Guide 633 Analyze a clip for color in Final Cut Pro To automatically balance a clip’s color, Final Cut Pro uses a single frame from the clip as a reference and calculates a correction for it that is then applied to the entire clip. Analyzing a clip for color balance allows Final Cut Pro to choose a representative frame as the clip’s color balance reference frame. (You can also choose a reference frame manually by positioning the playhead or the skimmer within the clip and then balancing the clip’s color.) You can have a clip’s color balance analyzed when you import it, whether importing from a camera, importing a file, or dragging a clip directly to the timeline from a Finder window. You can also analyze a clip’s color balance at any time in the browser. Analyzing a clip for color balance can take from a few seconds for shorter clips to a minute or more for longer clips. The analysis process takes longer if you also analyze for people and stabilization issues. For information about turning the color balance correction on and off, in either the browser or the timeline, see Balance a clip’s colors. Analyze color balance during file import 1. In Final Cut Pro, choose File > Import > Media (or press Command-I). 2. In the Media Import window, select the files to import, then select “Analyze video for balance color” in the Analyze and Fix section on the right. 3. Click the Import button. The files are imported and analyzed for color balance issues. Analyze color balance for clips dragged to the timeline from the Finder 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. In the Final Cut Pro Preferences window, click the Import button and select “Analyze video for balance color” in the Analyze and Fix section. All clips that you drag directly to the timeline from the Finder are now analyzed. Note: When you change this setting in the Preferences window, the setting is also changed in all other windows that have an “Analyze video for balance color” option. Analyze color balance for clips in the browser When you analyze the color balance of clips in the browser, any clips that were analyzed during import are skipped. 1. Select one or more clips in the Final Cut Pro browser. 2. Do one of the following: • Choose Modify > Analyze and Fix. • Control-click one of the selected clips and choose Analyze and Fix. 3. In the window that appears, select “Analyze for balance color” in the Video section, then click OK. Final Cut Pro User Guide 634 Balance a clip’s colors in Final Cut Pro Clips in Final Cut Pro have a Balance Color setting that turns automatic color balance correction on and off, whether the clip is in the browser or the timeline. The frame used as the reference frame is either a frame chosen during color balance analysis, the frame the playhead is on in the timeline, or the middle frame. • If the clip has been color-analyzed, either during import or while in the browser: The analysis process extracts color balance information for the entire clip. Whether you add a portion of the clip or the entire clip to a project, the color-balancing feature chooses the frame within the project clip that is closest to being correctly balanced. This means that if you add multiple partial clips from the same browser clip to the project, each clip is balanced based on analysis information for its own section of media. • If the clip has not been color-analyzed and you balance its color: You can determine the reference frame for a clip selected in the timeline by moving the playhead to that frame in the clip. If the playhead is on a different clip or you’ve selected a clip in the browser, the clip’s middle frame is used. For more information about color analysis, see Analyze a clip for color . Turn a clip’s color balance correction on or off 1. Select one or more clips in the Final Cut Pro timeline or browser. If you want to select the frame in the clip used as the color balance reference frame, position the playhead or skimmer on that frame. 2. Do one of the following: • Choose Modify > Balance Color (or press Option-Command-B). • Click the Enhancements pop-up menu below the viewer and choose Balance Color. • After you’ve applied a color balance correction (using one of the methods above), select or deselect the Balance Color checkbox in the Effects section of the Video inspector. Final Cut Pro User Guide 635 Manually white-balance clips in Final Cut Pro White-balancing an image removes color casts and ensures that white objects in the image appear white. Whether or not the camera operator remembered to set the white balance in the camera, it’s easy to quickly correct the white balance of your video footage in Final Cut Pro. 1. Select a clip in the Final Cut Pro timeline or browser. 2. Position the playhead over the clip so that the clip’s video is displayed in the viewer. 3. To turn on the Balance Color correction, do one of the following: • Choose Modify > Balance Color (or press Option-Command-B). • Click the Enhancements pop-up menu below the viewer and choose Balance Color. Note: When Balance Color is on, there’s a checkmark next to the menu item. The automatic color balance correction is applied to the clip. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the pop-up menu in the Balance Color section of the Video inspector and choose White Balance. The pointer changes to an eyedropper. Final Cut Pro User Guide 636 6. In the viewer, click or drag over an area that should be pure white. The entire clip’s color is adjusted to turn the pixels you selected into white. Tip: When using the eyedropper, don’t sample an area that’s overexposed, such as a light source or a shiny highlight. Instead, select a properly exposed area of your picture that’s white, such as a well-lit white shirtsleeve or white wall. After you apply a manual white-balance correction, you can copy the correction to other clips in your program to ensure that related clips have a consistent look. (In contrast, the more automated Balance Color correction creates a unique color correction for each clip it’s applied to.) You can copy the white-balance correction to multiple clips at once using the Paste Attributes command. See Copy effects between clips. Match color between clips in Final Cut Pro Your project likely uses video from a wide variety of sources. The Match Color feature makes it easy to ensure that all scenes that take place in the same location have the same look. Match color between clips 1. In the Final Cut Pro timeline, select one or more clips that you want to adjust. 2. Do one of the following: • Choose Modify > Match Color (or press Option-Command-M). • Click the Enhancements pop-up menu below the viewer and choose Match Color. Final Cut Pro User Guide 637 The viewer changes to display the frame under the timeline playhead on the right and the frame the pointer is over on the left. 3. Skim any clip in the timeline or the browser to find a frame with the color look you want to match, then click to preview that look applied to the selected clip. You can click a variety of clips until you find the look you want. Tip: You may want to import a still image that has the look you want, even if it’s not related to your project, so that you can match its color. 4. To accept the current look, click Apply Match. The viewer returns to its normal configuration, and the selected timeline clips change to the new look. Turn Match Color corrections on or off You can turn off the Match Color corrections that have been applied to a clip. This is useful for viewing the difference between the original clip and the corrected clip. 1. In the Final Cut Pro timeline, select a clip with Match Color corrections applied. 2. Click the Match Color checkbox in the Effects section of the Video inspector. Make advanced color corrections with color correction effects Intro to color correction effects in Final Cut Pro Final Cut Pro includes powerful manual color correction tools that you can use to accomplish a wide variety of color correction and enhancement effects. You use the tools by applying a color correction effect and then adjusting the effect’s controls in the Color inspector. Final Cut Pro User Guide 638 You can make manual color adjustments to the color tint, saturation, and exposure for the whole clip image using any of the following color correction effects. Color Board The unique Color Board provides controls for saturation, exposure, and color adjustments. See Use the Color Board. Color wheels You can use four color wheels (Global, Shadows, Midtones, and Highlights) to adjust color in your video clips. You can also adjust a clip’s brightness and saturation levels using sliders on the sides of the color wheels. See Use color wheels. Final Cut Pro User Guide 639 Color curves You can use the color curves to adjust the components of individual color channels in an image, as well as the luma channel. See Use color curves. Hue and saturation curves The six hue and saturation curves provide the maximum control and precision for color correcting your projects. See Use hue and saturation curves. Final Cut Pro User Guide 640 Final Cut Pro manual color correction workflow The traditional process for color correcting a project is outlined below, in rough chronological order. Step 1: Color correction starts during your shoot The process of determining the overall look of your video begins when your scenes are lit and shot during production. To have the maximum amount of control over your clips in post-production, you need to start out with footage that has been exposed with your end goals in mind right from the beginning. Color correction in post-production is no substitute for good lighting. Tip: In many productions, a color chip chart is placed next to the slate at the beginning of every shot. This chart can be used during post-production to provide a good neutral starting point for color correction. For example, you can use the white chip in the chart to quickly white-balance your clips. This technique is especially valuable for matching color in multicamera shoots. Step 2: Pick a reference shot from a scene to use as the basis for color correction If you’re color correcting a scene consisting of a single shot, your job is pretty easy. All you need to do is find the settings that work best for that one shot. Most scenes, however, cut between a variety of different shots, such as close-ups, medium shots, and wide shots. In every scene, there is usually a single wide shot that encompasses the entire scene. You can use that shot as a reference shot, and then make the colors of the other shots match those of the reference shot. Step 3: Add a color correction effect and perform primary color correction To make any manual color correction adjustments to a clip, you must first add one of the color correction effects available in Final Cut Pro (Color Board, Color Wheels, Color Curves, or Hue/Saturation Curves). See Add color corrections. Final Cut Pro User Guide 641 Primary color correction refers to two basic steps that you take using one of the color correction effects: • Adjust the blacks and whites to maximize the contrast of your clip: Essentially, you’re mapping the blackest black in your clip to a value of 0 and the whitest white to a value of 100. By doing this first, you widen the range that an underexposed image covers, or bring down overly bright (or super-white) areas of overexposed video into the range considered to be broadcast-safe. • Adjust the balance of reds, greens, and blues in your shot: As you make these adjustments, it’s helpful to view your clip on a broadcast video monitor as well as check the clip’s luma and chroma levels in the video scopes to make more informed changes. See Intro to measuring video. Step 4: Add additional color corrections as needed It’s important to remember that you don’t have to do everything with a single application of a color correction effect. For example, if you can’t get the colors in both the dimly lit areas and the highlights of your clip right with a single effect, focus only on the dimly lit area. You can then adjust the highlights with a second application of a color correction effect. For each color correction effect, you can use a color mask and an unlimited number of shape masks to isolate a region of your clip, limiting the color correction effect to just that area. This way, you can target the green grass, the highlights in the trees, and the red lipstick of an actor in the scene with three separate corrections, giving you an extremely fine level of control over your image. See Add a color mask and Add a shape mask. Step 5: Add other effects to address specific needs After you’ve finished color correcting your footage, you may find yourself with some additional issues to resolve. For example, the combination of effects you’re using may cause the chroma or luma to extend into levels illegal for broadcast. In this case, you can use the Broadcast Safe effect (in the Effects browser) to bring down the offending parts of Rec. 709 clips to acceptable levels. Step 6: Match the rest of the scene to the reference shot After you’ve finished defining the look of the reference shot in a scene, you can move on to the rest of the shots. It’s easy to copy the settings of the color correction effects you’re using to other pieces of the same reference shot. For example, if you cut back to the reference shot five times in your scene, you can simply copy the effects from the first piece of the reference shot you corrected to all other instances in your sequence. You can also combine multiple color correction effects into a single effects preset and copy it from clip to clip. See Save color correction presets. As you work on other shots in the scene, you’ll probably repeat steps 3 through 5 for each shot. You can compare each new shot with the reference shot that you corrected, switching back and forth rapidly to compare the look of one clip with that of the other. By comparing the clips’ values on the video scopes, you’ll see how you need to adjust the color correction effects to make the clips’ color, blacks, and whites match as closely as possible. Tip: You can use the Command Editor to assign a keyboard shortcut to turn color corrections on and off while making adjustments, and to assign keyboard shortcuts to many other color correction functions. See Modify keyboard shortcuts. Final Cut Pro User Guide 642 Add color corrections in Final Cut Pro The first step in adjusting a clip’s color manually is adding a color correction effect to the clip. You can apply multiple color corrections to a clip to target specific issues. For example, you could apply one color correction that mutes a bright orange shirt and a second one that enhances the green in the lawn. Add a color correction 1. In the Final Cut Pro timeline, select a clip you want to correct. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. • Click the Color button at the top of the inspector. • In the Video inspector, click the Color button to the right of a color correction to open it in the Color inspector. 4. Do one of the following: • Click the pop-up menu at the top of the Color inspector and choose a color correction from the Add Correction section of the menu. • Add a color correction effect from the Color category of the Effects browser. The color correction effects are: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves Final Cut Pro User Guide 643 Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. The color correction effect is applied to the clip and appears in the Effects section of the Video inspector. To proceed with the color correction, follow the instructions for the color correction effect you added: • Use the Color Board • Use color wheels • Use color curves • Use hue and saturation curves Apply multiple color corrections to a clip 1. In the Final Cut Pro timeline, select a clip that has a color correction. 2. To add an additional color correction, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6), then click the pop-up menu at the top of the Color inspector and choose one of the color correction effects in the Add Correction section. • Add another color correction effect from the Color category of the Effects browser. (The four choices are Color Board, Color Wheels, Color Curves, and Hue/Saturation Curves.) The Color inspector opens, showing the controls for the additional correction. Additional color correction effects are named incrementally (for example, Color Wheels 2, Color Wheels 3, and so on) and appear in the pop-up menu at the top of the Color inspector. You can switch to a different correction by choosing it in the pop-up menu. Final Cut Pro User Guide 644 The additional color correction effect also appears in the Effects section of the Video inspector, beneath the original color correction effect. You can click the Color Inspector button to the right of a correction to open the Color inspector with that correction’s settings. To make the additional color correction adjustments, see the topic for the color correction effect you added: • Use the Color Board • Use color wheels • Use color curves • Use hue and saturation curves If you have applied multiple corrections to a clip, you can change their order by dragging them in the Video inspector. Rearranging the processing order can provide different results. To ensure the highest-quality results, the Balance Color and Match Color effects appear at the top of the Effects list by default. Note: Applying multiple color corrections to a clip has no effect on the color masks in the additional color corrections. For example, if the first color correction removes all chroma from the clip, the second color correction can still create a color mask based on the original chroma. See Add a color mask. Switch to a different color correction 1. In the Final Cut Pro timeline, select a clip that has multiple color corrections. 2. Click the pop-up menu at the top of the Color inspector, then choose a different color correction. After you apply a color correction effect, you can copy it to another clip or group of clips. See Copy effects between clips. You can also combine multiple color correction effects into a single effects preset and then copy it to other clips. See Save color correction presets. Final Cut Pro User Guide 645 Remove color corrections in Final Cut Pro You can reset color corrections or turn them off and on to quickly see the effect of your adjustments. You can also remove color corrections from a clip. Reset or turn off color corrections in the Video inspector 1. In the Final Cut Pro timeline, select a clip with color corrections you want to reset or turn off. 2. In the Effects section of the Video inspector, do any of the following: • Turn off a color correction effect without resetting it: Deselect the checkbox for the correction. Tip: You can use the Command Editor to assign a keyboard shortcut to turn color corrections on and off while making adjustments, and to assign keyboard shortcuts to many other color correction functions. In the Command Editor, search for “Toggle color correction.” See Modify keyboard shortcuts. • Reset the entire color correction effect to its neutral state: Move the pointer over the color correction effect you want to reset, then click the pop-up menu that appears on the far right and choose Reset Parameter. Reset or turn off color corrections in the Color inspector 1. In the Final Cut Pro timeline, select a clip with color corrections you want to reset or turn off. 2. If the Color inspector isn’t already shown, do one of the following: • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. • Choose Window > Go To > Color Inspector (or press Command-6). • In the Video inspector, click the Color Inspector button for the color correction effect you want to reset or turn off. 3. In the Color inspector, do any of the following: • Turn off a color correction effect without resetting it: Deselect the checkbox for the correction. Final Cut Pro User Guide 646 Turning the corrections off and on makes it easy to quickly see the effect of your adjustments. • Reset the entire color correction effect to its neutral state: Click the pop-up menu on the far-right end of the name bar and choose Reset Parameter. • Reset an individual pane, wheel, curve, or other section of a color correction effect: Click the Reset button for that section or control. Remove a color correction 1. In the Final Cut Pro timeline, select the clip with the color correction you want to remove. 2. Do one of the following: • Select the color correction effect in the Video inspector, then press Delete. • Click the pop-up menu at the top of the Color inspector and choose the color correction effect, then click the empty gray area to the right of the correction name and press Delete. Use the Color Board in Final Cut Pro You can adjust a clip’s tint, saturation, and exposure with great precision using the Color Board. First you add the Color Board color correction effect to the clip, and then you adjust its settings in the Color inspector. Final Cut Pro User Guide 647 To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can also create a custom workspace layout for color correction, or switch to the predefined Color & Effects layout (see Change the workspace layout). Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Board effect: Choose Color Board from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Board effect already applied to the clip: Choose the Color Board effect you want to correct from the Corrections section at the top of the menu. Color Board controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. 4. At the top of the Color inspector, click the button for the correction you want to make: • Color: Adjusts the tint. • Saturation: Adjusts the chroma level. • Exposure: Adjusts the luma level. Final Cut Pro User Guide 648 5. Drag the controls (or select a control and press an arrow key), or enter values in the value sliders. To make fine adjustments, hold down the Option key as you drag a control. You can adjust the whole clip image or just the shadows, midtones, or highlights. Dragging a control up adds color to the image or increases the chroma or luma level; dragging a control down removes color or reduces the chroma or luma level. In the Color pane, you can also drag the controls left or right to choose the color to add or subtract. To reset the values for a pane, click the Reset button in the top-right corner. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 649 Use color wheels in Final Cut Pro You can use four color wheels (Global, Shadows, Midtones, and Highlights) to adjust color in your video clips. You can also adjust a clip’s brightness and saturation levels using sliders on the sides of the color wheels. First you add the Color Wheels color correction effect to the clip, and then you adjust its settings in the Color inspector. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). The vectorscope shows the distribution of color in your image on a circular scale and is particularly useful for working with color wheels. The angle of distribution of red, green, and blue in the color wheels corresponds to the angles of those colors in the vectorscope. When you move the color control in the center of a color wheel, the mix of colors in the vectorscope moves the same direction. You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Final Cut Pro User Guide 650 Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Wheels effect: Choose Color Wheels from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Wheels effect already applied to the clip: Choose the Color Wheels effect you want to correct from the Corrections section at the top of the menu. Color Wheels controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, double-click the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • All Wheels: Displays all four color wheels at once. The Global color wheel adjusts the whole clip image; the other color wheels adjust only the shadows, midtones, or highlights. • Single Wheels: Displays one large color wheel at a time. Click a button at the top of the Color inspector to select the wheel to display. Final Cut Pro User Guide 651 5. To change a clip’s brightness, color, or saturation, adjust the controls for a color wheel, or enter values in the value sliders below. • Adjust the brightness: Drag the Brightness slider on the right side of a wheel. • Adjust the color value: Drag the color control in the center of a wheel. You can also move the color control up, down, left, or right by pressing the Up Arrow, Down Arrow, Left Arrow, or Right Arrow key. • Adjust the saturation: Drag the Saturation slider on the left side of a wheel. To make fine adjustments, hold down the Option key as you drag a control. 6. Use the controls at the bottom of the Color inspector to adjust any of the following: • Temperature: Adjust the color temperature, in degrees kelvin, so that the image looks as natural as possible. Color temperature describes the color value of light when the image was shot (not the light’s heat value). Drag the slider to the left to increase blue tones, or to the right to increase yellow-red tones. For example, if the image was shot under tungsten conditions, set the value between 2500 and 2900 degrees kelvin to white-balance it. • Tint: Fine-tune the white-balance adjustment by neutralizing a remaining green or magenta tint. Drag the Tint slider to the left to add a green tint to the image, or to the right to add a magenta tint. • Hue: Use the Hue control or value slider to set a value from 0° to 360°, effectively rotating all hues in the image around the perimeter of the color wheel. A value of 0° represents the original image. • Mix: Set the amount of the original image to be blended with the color-corrected image. To reset the values for a color wheel or a value slider, click its Reset button . Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 652 Use color curves in Final Cut Pro You can use color curves to adjust the components of individual color channels in a clip image. You can adjust the overall luma as well as the red, green, and blue color channels. A feature unique to Final Cut Pro is that you can adjust any custom color you specify—for example, you can select any mixture of chroma and then adjust its intensity. First you add the Color Curves color correction effect to the clip, and then you adjust its settings in the Color inspector. Final Cut Pro User Guide 653 A color curve is like an interactive histogram that is tilted at a 45-degree angle. The different tonal ranges of the image (the shadows, midtones, and highlights) are distributed along the curve. You can click the curve to create control points, then drag the control points up or down to increase or decrease the intensity of the color for a given tonal range. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. Use the color curves to adjust the intensity of a color channel 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Curves effect: Choose Color Curves from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Curves effect already applied to the clip: Choose the Color Curves effect you want to correct from the Corrections section at the top of the menu. Final Cut Pro User Guide 654 Color Curves controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, double-click the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • All Curves: Displays all four color curves at once. The default color curves are Luma, Red, Green, and Blue. • Single Curves: Displays one large color curve at a time. Click a button at the top of the Color inspector to select the curve to display. 5. To set the black and white points, drag the control points on the ends of the Luma curve. It’s a good idea to use the waveform monitor as you do this, to make sure you don’t clip the highlights or crush the blacks more than you want to, and to make sure the image remains broadcast-safe. To show the waveform monitor, see Display video scopes. 6. To adjust a color channel, click a curve to set a control point, then drag it up to increase the intensity of the color or down to decrease the intensity. To constrain the control point to vertical or horizontal movement, hold down the Shift key as you drag. To make fine adjustments, hold down the Option key as you drag. Final Cut Pro User Guide 655 Adjusting the image with a single control point affects most of the midtones as well as some shadows and highlights. To select a custom color to adjust, click the eyedropper at the top of one of the color curves, then click or drag over a color in the viewer. You can also click the name of a color curve (at the top left of the curve), then click or drag in the color wheel. Tip: To remove a color cast from a clip with manual control and precision, click the eyedropper at the top of one of the color curves, then, in the viewer, click or drag over an area of the image that’s supposed to be white, such as a white sheet of paper. A vertical gray line appears on the color curve. Click to add a control point where the gray line intersects the curve, then drag the control point down until the selected color turns white. Use the waveform monitor in RGB Parade view to verify the change. Final Cut Pro User Guide 656 7. To narrow the tonal range for your adjustments, add more control points. The default diagonal line for each curve indicates the original state of the image. Wherever the curve diverges from the diagonal line, the image is altered. Wherever the curve touches the diagonal line, the values of the image at that tonality are the same as in the original image. For example, to prevent any change to the shadows, you could add a control point to pin the curve to the diagonal line in the shadows area. 8. Add and move control points as needed. To delete a control point, select it and press Delete. To reset the values for a color curve, click its Reset button . 9. At the bottom of the Color inspector, adjust any of the following: • Preserve Luma: Select this checkbox to maintain the overall brightness of a clip despite changes in one or more color channels. • Mix: Set the amount of the original image to be blended with the color-corrected image. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 657 Use hue and saturation curves in Final Cut Pro The six hue and saturation curves provide the maximum control and precision for color correcting your projects. You can adjust the hue, saturation, and brightness of any color in your project. Additionally, you can adjust the saturation for a range of brightness or a range of saturation in a clip. You can also adjust the saturation of a specific color at any point in its range of brightness. First you add the Hue/Saturation Curves color correction effect to the clip, and then you adjust its settings in the Color inspector. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Final Cut Pro User Guide 658 Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. Add and set up a Hue/Saturation Curves color correction 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Hue/Saturation Curves effect: Choose Hue/Saturation Curves from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Hue/Saturation Curves effect already applied to the clip: Choose the Hue/ Saturation Curves effect you want to correct from the Corrections section at the top of the menu. Hue/Saturation Curves controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, doubleclick the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • 6 Curves: Displays all six curves at once. • Single Curves: Displays one large curve at a time. In Single Curves view, click a button at the top of the Color inspector to display a specific curve. To color correct the clip, follow the instructions below for the adjustment you want to make. Final Cut Pro User Guide 659 Adjust the hue, saturation, or brightness of a color 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the curve that you want to use. • Hue vs Hue: Change a color (hue) in the image. • Hue vs Sat: Change the saturation of a color in the image. • Hue vs Luma: Adjust the brightness of a color in the image. 3. In the viewer, click or drag over the color in your clip that you want to adjust. Three control points appear on the curve in the Color inspector. The middle control point represents the color you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of hues. The examples below show the Hue/Saturation Curves effect in Single Curves view. In this view, click a button at the top of the Color inspector to display a specific curve. For example, click HvH to display the Hue vs Hue curve. Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point to adjust any of the following (depending on which curve you’re using in the Color inspector): • Hue vs Hue: Change the hue in the selection. Drag the control point up or down to rotate through the various hues around the perimeter of the color wheel. Final Cut Pro User Guide 660 Note: If you use the Hue vs Hue curve to change the hue and then use the eyedropper in any other curve in the same instance of the Hue/Saturation Curves color correction effect, the eyedropper selects the original hue—not the altered hue. To select the original hue, adjust the control points without using the eyedropper, or add a second instance of the Hue/Saturation Curves color correction effect. • Hue vs Sat: Adjust the saturation of the selected color. Drag the middle control point up to increase the saturation, or down to decrease the saturation. Add or adjust control points as needed. In the example below, the HvS button was clicked in the Single Curves view, and the eyedropper was used to select the hue of the wall in the image. • Hue vs Luma: Adjust the brightness of the selected color. Drag the middle control point up to increase the brightness, or down to decrease the brightness. Add or adjust control points as needed. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. Final Cut Pro User Guide 661 In the example below, the HvL button was clicked in the Single Curves view, and the eyedropper was used to select the hue of the wall in the image. 5. To adjust the selected range, drag the two outer control points to the left or the right, or just delete them. Adjust the saturation for a range of brightness You can use the Luma vs Sat curve to create special looks and to make a clip broadcastsafe by reducing oversaturation. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Luma vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Luma vs Sat curve. In Single Curves view, click the LvS button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. Three control points appear on the curve in the Color inspector. The middle control point represents the level of luma (brightness) you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of brightness. Final Cut Pro User Guide 662 Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point up to increase the saturation, or down to decrease the saturation. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. 5. To adjust the range of luma selected, drag the two outer control points to the left or the right, or just delete them. 6. To adjust the saturation for a different range of brightness, click the curve to add control points, and adjust them as needed. Use the left end of the curve to adjust shadows, the middle section to adjust midtones, and the right end of the curve to adjust highlights. Drag up to increase saturation, or down to decrease saturation. Adjust the saturation within a range of saturation The Sat vs Sat curve allows you to create special looks by selecting and adjusting a range of saturation within the video clip’s original saturation. You can increase the saturation of areas with low saturation, or you can desaturate oversaturated areas to make them safe for broadcast. In the example below, the saturation is increased in a region of low saturation in the original image. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Sat vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Sat vs Sat curve. In Single Curves view, click the SvS button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. Final Cut Pro User Guide 663 Three control points appear on the curve in the Color inspector. The middle control point represents the level of saturation you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of saturation. Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point up to increase the saturation, or down to decrease the saturation. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. 5. To change the range of saturation selected, drag the two outer control points to the left or the right, or just delete them. 6. To adjust the saturation for a different range of saturation, click the curve to add control points, and adjust them as needed. Use the left end of the curve to adjust regions of low saturation, the middle section to adjust regions of medium saturation, and the right end of the curve to adjust highly saturated regions. Drag a control point up or down to increase or decrease saturation for that region of saturation. Final Cut Pro User Guide 664 Adjust the saturation of a specific color at any point along its range of brightness You can use the Orange vs Sat curve to adjust a specific color’s saturation at any point along its range of tonality from darkest to brightest. Note: The default color for the curve is orange (because it aligns with skin tone), but you can select any color and adjust its saturation. For more information about skin tone, see Vectorscope display options. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Orange vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Orange vs Sat curve. In Single Curves view, click the Orange button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. The curve color changes to the color you selected in the viewer. The name of the curve also changes to reflect the selection—for example, to “Aqua vs Sat.” You can also change the color of a curve by clicking its name (at the top left of the curve) and then clicking or dragging in the color wheel to select a color. 4. Click the curve to add control points, then drag them up or down to increase or decrease the saturation of the selected color. To make fine adjustments, hold down the Option key as you drag a control. Final Cut Pro User Guide 665 Use the left end of the curve to adjust shadows, the middle section to adjust midtones, and the right end of the curve to adjust highlights. Add or adjust control points as needed. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Add color masks and shape masks Add a color mask in Final Cut Pro A color mask isolates a particular color in an image. You can apply a color mask to a clip to correct a specific color, or to exclude that color from corrections to the rest of the image, or both. For example, you could mute a bright color in the background that distracts attention from a clip’s main subject. You can create two types of color masks in Final Cut Pro: a 3D color mask or an HSL color mask. With either mask type you can make an initial color selection using an eyedropper, but each mask type has its own set of controls for refining the color range in the mask. Note: You can switch from one mask type to another, but your color selection is not retained when you switch. 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. Final Cut Pro User Guide 666 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. 5. At the top of the Color inspector, move the pointer over the effect name and click the Apply Effect Masks button . 6. Click the pop-up menu that appears and choose Add Color Mask. The Color Mask controls appear at the bottom of the Color inspector, and the pointer changes to an eyedropper. 7. Click the Type pop-up menu and choose one of the following: • 3D: Creates a color mask that lets you add or remove surrounding colors by dragging the Softness slider. • HSL: Creates a color mask that lets you adjust hue, saturation, and luma values independently. For more information about each mask type, see Edit a color mask. 8. In the viewer, position the eyedropper on a color in the image that you want to isolate, then drag to select the color. As you drag the eyedropper, a circle appears. The size of the circle determines the range of color that is included in the color mask. As you change the circle size, the image becomes monochrome except for the color you’re selecting. You can drag a new selection circle as many times as you like to try for better results. Note: When you stop dragging, you see the effects of the color mask as soon as you start making adjustments in the color correction effect. If you chose the HSL mask type you can also make the initial color selection using the HSL controls. See Edit an HSL color mask with hue, saturation, and luma controls. Final Cut Pro User Guide 667 9. Do one of the following: • Apply a color correction to the selected color: Click Inside. • Apply a color correction to everything except the selected color: Click Outside. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of color correction controls. For example, you could click Inside to enhance the targeted color, and then click Outside to darken everything else. As with any other masked clip effect, you can also invert (flop) the masked and unmasked areas of the color mask. See Invert effect masks. 10. To correct the color isolated by the mask, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. To adjust the color selection in the color mask, you can edit the mask. To limit the area of the image affected by a color mask, you can add one or more shape masks. Edit color masks in Final Cut Pro A color mask is defined by a specific color range, so only areas in your video clip that contain colors within the range are part of the mask. The illustration below shows an example of a color range selection in a 3D color model. In Final Cut Pro, you can adjust the range of colors included in a color mask—for example, to add or remove colors as the subject moves or the scene changes. With the eyedropper, you can quickly select a base range of colors or expand or shrink a selection. Depending on the type of color mask you created, you can use additional controls to finetune the color range. If you created a 3D color mask, you can add or remove surrounding colors using the Softness slider. If you created an HSL color mask, you can adjust hue, saturation, and luma values independently. Final Cut Pro User Guide 668 Edit a color mask with the eyedropper 1. In Final Cut Pro, add a color mask to a clip in the timeline. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. In the Color Mask section of the inspector, click the eyedropper to enable it (the eyedropper turns blue). 5. Do any of the following: • Make a new single-color selection: Position the eyedropper on a color you want to include in the mask, then click once. • Add color shades: Hold down the Shift key, position the eyedropper on a color you want to add to the mask, then drag to select the range of color. • Subtract color shades: Hold down the Option key, position the eyedropper on a color you want to remove from the mask, then drag to select the range of color. Edit a 3D color mask with the Softness slider 1. In Final Cut Pro, add a 3D color mask to a clip in the timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 669 4. In the Color Mask section of the inspector, make sure 3D is chosen from the Type pop-up menu. 5. Drag the Softness slider to the right to add surrounding colors to the range included in the mask, or to the left to remove colors. Tip: To view the mask contents while you make your change, press the Command key as you drag the Softness slider. See Ways to view masks. Edit an HSL color mask with hue, saturation, and luma controls 1. In Final Cut Pro, add an HSL color mask to a clip in the timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. In the Color Mask section of the inspector, make sure HSL is chosen from the Type pop-up menu. The Hue, Saturation, and Luma parameter controls appear below the Type pop-up menu. Final Cut Pro User Guide 670 5. Do any of the following: • Adjust the range of a parameter: Drag the top handles of the parameter. Tip: To adjust ranges slowly, press the Option key while dragging a top handle. • Adjust the softness of a parameter’s range: Drag the bottom handles of the parameter. Adjusting the softness adds or subtracts surrounding colors. In the Hue parameter only, adjusting one bottom handle automatically adjusts the other. • Disable a parameter while adjusting the color mask: Deselect the parameter’s checkbox. For example, deselecting the H (Hue) checkbox selects all colors with similar saturation and luma values. Selecting only the L (Luma) checkbox selects all colors with similar luma values. • Adjust both ends of the parameter’s range simultaneously: Drag between the handles on any of the sliders. Tip: To view the mask contents while you make your change, press the Command key as you adjust a control. See Ways to view masks. Ways to view masks in Final Cut Pro You can display the precise area of a mask in the viewer as a black-and-white alpha channel image or as a color image, showing the actual color contents of the mask. Changing the viewing mode helps you see which areas of the image are being affected (by a color correction, for example). 1. Add a clip to your Final Cut Pro project, then select the clip in the timeline. 2. Do one of the following: • Add an effect to the clip, then add a mask to the effect. Note: Effects you can mask in this way include color corrections. • Add a color mask or a shape mask to the clip. 3. Position the playhead in the timeline so that the clip appears in the viewer. 4. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 671 5. In the inspector, click the View Masks button to show the mask in the viewer. 6. Do one of the following: • View the alpha channel in black and white: Click the View Masks pop-up menu and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. • View the visible areas of the masked image in color: Click the View Masks pop-up menu and choose Color. The colors inside the mask appear in the viewer. Gray indicates areas outside the mask. To turn the current mask view on or off and switch between displaying the mask and the adjusted image in the viewer, click View Masks. Final Cut Pro User Guide 672 Add a shape mask in Final Cut Pro A shape mask defines an area in the image so that you can apply color corrections either inside or outside that area. For example, you might want to emphasize an object in a shot by darkening the area around the object. You can add multiple shape masks to define multiple areas, and you can also animate the shapes with keyframes so that they follow a moving object, or follow an area while a camera pans. For information about animating shape masks, see Animate an effect shape mask. For information about working with keyframes, see Intro to video keyframing and Add video effect keyframes. 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or Press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. 5. At the top of the Color inspector, move the pointer over the effect name and click the Apply Effect Masks button . Final Cut Pro User Guide 673 6. Click the pop-up menu that appears and choose Add Shape Mask. The onscreen controls appear in the viewer, superimposed over the video image. By default, the shape mask is set to a partially feathered circle in the center of the frame. The Shape Mask item appears in the masks section at the bottom of the Color inspector. 7. Adjust the onscreen controls to specify which part of the video image is affected by the color correction. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. • Control the roundness of the shape: Drag the handle to the left of the inner circle’s top handle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt transition to the corrections you apply, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. To show or hide the mask’s controls, click the Shape Mask Onscreen Controls button to the right of the shape mask name in the mask list. For information about viewing the mask, see Ways to view masks. 8. Do one of the following: • Apply a color correction to the shape area: Click Inside. Final Cut Pro User Guide 674 • Apply a color correction to everything except the shape area: Click Outside. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of color correction controls. For example, you could click Inside and enhance the shape’s area, and then click Outside to change everything else. As with any other masked clip effect, you can also invert (flop) the masked and unmasked areas of the shape mask. See Invert effect masks. 9. To correct color in the area isolated by the mask, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. 10. To add additional shape masks to the correction, repeat steps 5 and 6 above. Another default shape appears in the viewer, and the original shape is dimmed. You can select and continue configuring the original shape by clicking its center. For information about how masks can interact, see Combine multiple effect masks. Add shape masks to a color mask in Final Cut Pro Often when you create a color mask, more areas of the video are affected by it than you would like. For example, there might be a gray car on the right side of the screen that you want to color correct, and a gray car on the left that you don’t want to change. In this situation, you can add one or more shape masks to restrict the color mask to the areas defined by the shape masks. You can set masks to interact in different ways using mask blend modes. For example, you can add mask shapes together to create a combined mask, subtract a mask shape from other masks, and intersect masks. For a complete description of ways masks can interact, see Combine multiple effect masks. There are many ways to use multiple masks in a color correction. The example below shows how you might use a shape mask to isolate an area of a color mask: the dark gray body of one car in a line of four cars of similar color. Example: Add shape masks to a color mask in a color correction effect 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 675 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. The color correction effect appears in the Color inspector. 5. Add a color mask to the color correction. 6. To view the mask alpha channel, click the View Masks pop-up menu in the inspector and choose Black and White, then click View Masks. The color mask alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. Note: You can also view the visible areas of the masked image in color. See Ways to view masks. To invert the mask selection, see Invert effect masks. Final Cut Pro User Guide 676 7. Add a shape mask to the same color correction. Both masks appear in a list at the bottom of the Color inspector. By default, the shape mask appears at the top of the list, set to the Add blend mode. The color mask’s blend mode is changed to Intersect. (In Intersect mode, only the area inside the mask shape that overlaps with other mask shapes is affected.) 8. Click the Shape Mask Onscreen Controls button so that the onscreen controls appear in the viewer. 9. Adjust the shape mask onscreen controls to isolate the area you want to correct (in this example, the dark gray tones of the first car). The alpha channel in the viewer shows the isolated area only. 10.Add additional shape masks as needed to further isolate the area. 11. To correct color in the area isolated by the masks, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. Final Cut Pro User Guide 677 Remove a color or shape mask in Final Cut Pro 1. In the Final Cut Pro timeline, select a clip that has a color mask or shape mask you want to remove. 2. In the Color inspector, click the mask name (so that a yellow box appears around the mask item), then press Delete. Wide color gamut and HDR Intro to wide color gamut and HDR in Final Cut Pro 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 Final Cut Pro projects often involve media captured or created from different sources, and because color gamuts vary from device to device, Final Cut Pro 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. Final Cut Pro User Guide 678 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. Working with wide-gamut color and HDR in Final Cut Pro Using profiles, or tags (assigned by the device upon creation) that describe the color space of the media, Final Cut Pro 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 Final Cut Pro project. The computer display profile then tells Final Cut Pro how to translate the colors to the display’s color space. When you export from Final Cut Pro, the color-matching process algorithmically maps those colors to the output space of the project. You can choose between two library color-processing options in Final Cut Pro: • Standard: Sets the working color space to linear RGB with Rec. 709 color primaries, the color space that previous versions of Final Cut Pro 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. In a Wide Gamut HDR library, the built-in camera LUT settings preserve the full dynamic range of log source media when converting to the working space. Note: To view the wider range of colors in Rec. 2020, it’s recommended that you use a wide-gamut HDR external monitor and video interface. See Play media on an external display. For tips on color correcting wide-gamut HDR projects with Mac displays, see Wide-gamut HDR tips. Final Cut Pro User Guide 679 Nearly all devices and formats support capture in the Rec. 709 color space. Some devices and formats can also capture in the DCI-P3 and Rec. 2020 color spaces, which include a much wider gamut of colors. Generally, your working color space should match your output color space (the color space you’re required to deliver the project in). If you’re exporting to multiple output color spaces, your working 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. Use wide-gamut HDR color processing in Final Cut Pro You can choose between two basic color spaces in Final Cut Pro: Standard and Wide Gamut HDR. To work in wide-gamut HDR, you must first configure two settings: • The color-processing setting for an entire library: This global setting changes the way in which effects and log processing work for all projects. Set your library to Wide Gamut HDR if you’re considering exporting a wide-gamut HDR output media file. • The color space setting for a specific project: This setting determines the color space of your render files, the color of images you see on the screen, and the color space of your exported project (the output media file). Set your project to Wide Gamut HDR if you intend to export an HDR movie when you complete the project. (This project setting is available only when the library is set to Wide Gamut HDR.) Set the color processing for a library Because the color-processing setting affects all projects and media in the library, it’s a good idea to create a separate library for each project or deliverable (to prevent accidental color space crossover issues). See Create a new library. Important: The working color space setting may affect video processing and the appearance of your final rendering results. For example, when the library color-processing setting is changed from Standard to Wide Gamut HDR, some filters or compositing effects (blend modes) may change in appearance. 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. To open the Library Properties inspector, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 680 3. Click Modify at the top of the Library Properties inspector. 4. Select one of the following in the window that appears: • Standard: Set the working color space to linear RGB with Rec. 709 color primaries, the color space that previous versions of Final Cut Pro 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: Set 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. In a Wide Gamut HDR library, the built-in camera LUT settings preserve the full dynamic range of log source media when converting to the working space. See Apply LUTs. A third option, Wide Gamut (Deprecated), appears if you selected a wide-gamut library containing log media that was created with Final Cut Pro 10.3. The Wide Gamut (Deprecated) option ensures that wide-gamut projects created with Final Cut Pro 10.3 don’t change in appearance. Important: If you switch from Wide Gamut (Deprecated) to another color-processing setting, you can’t switch back—the Wide Gamut (Deprecated) setting will no longer be available. Set the color space for a project You can choose one of four color space options for your project if the library color processing is set to Wide Gamut HDR and the project video format is set to HD or larger. When you set the project color space, the project’s render files are generated in that color space, and your project is exported in that color space if the destination codec supports it. During playback, output images are converted to the project color space and then displayed onscreen according to the display device’s color profile. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to modify, then select the project (or double-click it to open it in the timeline). 2. Do one of the following: • Choose Window > Project Properties (or press Command-J). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 681 3. In the Project Properties inspector, click the Modify button in the top-right corner. 4. In the window that appears, click the Color Space pop-up menu and choose one of the following: • Standard - Rec. 709: Choose this option to set your project to use the Rec. 709 color space, the current standard for HDTV projects, including HD cable, Blu-ray discs, and most streaming video today. You can also create a project that uses the standard color space within a wide-gamut library—for example, if you have widegamut media but need to deliver a standard project, or if you need to deliver both standard and wide-gamut versions of a project. • Wide Gamut - Rec. 2020: Choose this legacy setting for projects created previously using the Wide Gamut - Rec. 2020 color space. If you intend to export an HDR movie, choose one of the following Wide Gamut HDR options. • Wide Gamut HDR - Rec. 2020 PQ: Choose this option if you intend to create an HDR movie with the Rec. 2020 color space and PQ transfer function (Rec. 2100 standard), using formats such as HDR10, HDR10+, Dolby Vision, or Advanced HDR. You can create an HDR10-compatible movie entirely within Final Cut Pro. See Export an HDR10 file. For other HDR formats, some additional steps are required after you export the movie file from Final Cut Pro. • Wide Gamut HDR - Rec. 2020 HLG: Choose this option if you intend to create an HDR movie with the Rec. 2020 color space and HLG transfer function (Rec. 2100 standard), using formats such as HLG or Advanced HDR. HLG, or Hybrid Log-Gamma, was developed by the BBC and NHK broadcasting networks and is compatible with older standard dynamic range (SDR) televisions and monitors. Movies created with this color space option in Final Cut Pro are compatible with HLG HDR televisions and displays. Note: If you want to set the project to a wide-gamut color space, but the menu is set to something else and dimmed, you must first set the color processing for the library. 5. Click OK. For a detailed list of all project settings, see Final Cut Pro project settings. For information about displaying the image details of HDR clips or projects in the viewer, see Playback preferences. Note: You can use the video scopes and the range check overlay in Final Cut Pro to measure video levels and detect out-of-gamut colors. See Intro to measuring video and Detect out-of-gamut colors. You can also use the Broadcast Safe filter as a quick way to reduce luma and chroma levels that exceed the specification limits for either standard or wide-gamut color spaces in standard-dynamic-range (SDR) video media. To apply the Broadcast Safe filter to a clip in your project, see Add video effects. Final Cut Pro User Guide 682 Color correct HDR video with Pro Display XDR and Final Cut Pro On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as HDR color correction. The A/V Output feature allows you to send video and audio from your Mac to an external video monitor. Follow the instructions below to set up a color correction system with at least two displays: the Pro Display XDR as the external HDR reference monitor and a display for working with the Final Cut Pro interface. To color correct HDR video with the Pro Display XDR, you must be using Final Cut Pro 10.4.7 or later and macOS Catalina 10.15 or later. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Connect the Pro Display XDR to the Thunderbolt port on your Mac using a Thunderbolt cable, and make sure the display is connected to power and turned on. 3. To configure the Pro Display XDR, choose Apple menu > System Preferences, then click Displays. 4. In the Displays pane on the Pro Display XDR, click the Presets pop-up menu and choose HDR Video. When you choose this preset, Final Cut Pro turns off tone mapping to provide the maximum color and brightness accuracy for HDR video playback on the Pro Display XDR. The color and brightness is accurate for video content measuring up to 1000 nits. For more information about tone mapping, see View HDR video. Note: The HDR Video preset is intended for use in a dimmed viewing environment. 5. In Displays preferences, set the Pro Display XDR to be a secondary display. 6. To set the Pro Display XDR as the A/V output device, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose Pro Display XDR. 7. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the Pro Display XDR. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. Final Cut Pro User Guide 683 View HDR video in the Final Cut Pro viewer In Final Cut Pro 10.4.7 or later, you can choose how to view HDR video in the viewer. The available options depend on the capabilities of your display and which version of macOS you’re using. On systems with macOS Catalina 10.15 or later, you can view HDR video in the viewer with tone mapping applied, which compresses bright image content and reduces the apparent dynamic range of the video to fit the viewable range of your display. On systems with macOS Mojave 10.14, you have the option to show details in HDR video. This “flat” view is helpful when you need to see pixel details (for example, to select an area with an eyedropper or add a Draw Mask effect). Important: To play back the wider range of colors in an HDR project with maximum accuracy, you can use the A/V Output feature with an external reference HDR video monitor. See Play media on an external display. View HDR video on macOS Catalina 10.15 or later When you view HDR video on macOS Catalina 10.15 or later, the Show HDR as Tone Mapped setting is turned on by default in most cases, applying tone mapping to the HDR image in the viewer. This setting does not affect how HDR content is displayed on an external monitor using A/V Output. Important: If the Pro Display XDR is set to HDR Video or another reference mode preset in the Displays pane of System preferences, tone mapping is disabled. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Click the View pop-up menu in the upper-right corner of the viewer, then, in the Display section, make sure that Show HDR as Tone Mapped is turned on (a checkmark appears next to it). If you’re using a system with a Pro Display XDR, this setting is appropriate for day-to-day playback and editing with the default preset (“Apple Display P3-1600 nits”) in Displays preferences. To use the Pro Display XDR for critical tasks such as color correction, see Color correct HDR video with Pro Display XDR. View HDR video on macOS Mojave 10.14 When you view HDR video on macOS Mojave 10.14, highlights above the reference white level, typically 100 nits, appear clipped in the viewer on a Mac display. To see the image details of HDR clips or projects, use the Show HDR as Raw Values setting. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Click the View pop-up menu in the upper-right corner of the viewer, then, in the Display section, make sure that Show HDR as Raw Values is turned on (a checkmark appears next to it). Final Cut Pro User Guide 684 Convert or adjust HDR clips in Final Cut Pro You can use the HDR Tools effect to convert wide-gamut HDR video clips from one color space to another or to set the maximum brightness of a clip. For example, you might use the HDR Tools effect on any of the following kinds of wide-gamut HDR source clips: • MOV or MXF files that were encoded directly using the HLG (Hybrid Log-Gamma) or PQ (Perceptual Quantizer) standard. This could be media originating from a camera or media exported from Final Cut Pro, Motion, Compressor, or another app. • A source file that is not HLG or PQ (it could be log or RAW, for example) but has a LUT applied (either a camera LUT or a custom LUT effect), where the LUT is designed to output HLG or PQ video. See Apply LUTs. • A compound clip that has been set to either PQ or HLG. For example, you might color correct a PQ project (a project configured for Rec. 2020 PQ), and then create a compound clip of the entire timeline and place it in an HLG project. For information about compound clips, see Intro to compound clips. For information about wide-gamut HDR project settings, see Use wide-gamut HDR color processing. If, instead, you want to fix incorrect or missing metadata, see Change a clip’s color space metadata. 1. In the Final Cut Pro timeline, select a wide-gamut HDR clip. 2. Open the Effects browser, select the Color category on the left, then double-click HDR Tools to add the effect to the clip selected in the timeline. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. Click the Mode pop-up menu in the HDR Tools section of the inspector, then choose one of the following settings. Note: The first three settings in the menu may require further adjustments to the image to fine-tune the look. For best results, arrange the order of the effects so that the HDR Tools effect is applied after your color correction effects. See Change clip effect order. • HDR to Rec. 709 SDR: Apply this generic conversion setting to any HDR clips in Rec. 709 projects to convert the clips to Rec. 709 standard-dynamic-range (SDR) luminance levels. For the best results, determine whether the clips are HLG or PQ variants of HDR, then use one of the more specific conversion options below. Final Cut Pro User Guide 685 • HLG to Rec. 709 SDR: Apply this setting to HLG HDR clips in Rec. 709 projects to convert the clips to Rec. 709 SDR luminance levels. • PQ to Rec. 709 SDR: Apply this setting to PQ HDR clips in Rec. 709 projects to convert the clips to Rec. 709 SDR luminance levels. • PQ Output Tone Map: Apply this setting to reduce the brightness of PQ clips down to the level you set in the “Peak Brightness (nits)” slider, and to apply a soft rolloff to the highlights so that they don’t clip abruptly. Use this setting in PQ projects only, and apply it as the last effect. • HLG to PQ (Rec. 2100): Apply this setting to HLG clips in PQ projects to convert the clips from HLG to PQ. This setting results in PQ clips that appear on PQ displays identically to how the HLG clips would appear on an HLG display. The conversion uses the HLG reference OOTF in accordance with Rec. ITU-R BT.2100-1, with peak luminance corresponding to the level you set in the “Peak Brightness (nits)” slider. • PQ to HLG (Rec. 2100): Apply this setting to PQ clips in HLG projects to convert the clips from PQ to HLG. This setting results in HLG clips that appear on HLG displays identically to how the PQ clips would appear on a PQ display. This conversion uses the HLG inverse OOTF in accordance with Rec. ITU-R BT.2100-1, with peak luminance corresponding to the level you set in the “Peak Brightness (nits)” slider. 6. To set a clip’s maximum luminance on a display to a specific level, drag the “Peak Brightness (nits)” slider, for example, to 1000 nits. 7. To optionally set the amount of the original image to be blended with the adjusted image, drag the Mix slider. Export HDR files with Final Cut Pro Directly within Final Cut Pro, you can create high-dynamic-range (HDR) files suitable for certain HDR televisions and displays. Specifically, you can use Final Cut Pro to create HDR10 and HLG movie files. • HDR10 is most commonly used for streaming and for output on Blu-ray discs. • HLG is useful for broadcast and live TV. An advantage of HLG is that you don’t need an HDR TV to view the content. You can view it on a legacy standard-dynamic-range (SDR) TV that isn’t designed to work with HLG or HDR, and the image will have acceptable quality. However, if an HDR-capable TV detects the relevant metadata in the HLG file, it will play back the file in HDR. Export an HDR10 file 1. In the Final Cut Pro browser, select the project you want to export. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Set the color processing for the library to Wide Gamut HDR. Final Cut Pro User Guide 686 4. Set the project color space to Wide Gamut HDR - Rec. 2020 PQ. 5. With the project still selected in the browser, click the Share button at the top of the inspector. The Share inspector appears. 6. In the HDR Content Light Level Metadata section of the inspector, enter values based on the content of your program and the specifications of the target device. If you’re not sure of the proper values to enter, leave the fields empty. • MaxCLL (Maximum Content Light Level): Enter the level, in nits, of the brightest pixel component in the program. For example, if the peak brightness (maximum luminance) of the target television or display is 1000 nits, you can apply the HDR Tools effect to the entire project, with the effect configured to convert to a maximum Rec. 2020 PQ output level of 1000 nits. In this case, you would enter 1000 for MaxCLL. For more information about the HDR Tools effect, see Convert or adjust HDR clips. • MaxFALL (Maximum Frame Average Light Level): Enter the value, in nits, for the frame in your program with the highest average brightness level. 7. If you know the characteristics of your mastering display (the reference monitor you use tasks such as color correction that require maximum color and brightness accuracy), enter the values in the HDR Mastering Display Metadata section. For example, if you’re mastering with a Sony BVM-X300 monitor, you would enter the following: • Display Primaries: Rec. 2020 • Display White Point: D65 • Maximum Display Luminance: 1000 • Minimum Display Luminance: 0 or 0.0001 Final Cut Pro User Guide 687 If you’re not sure of the proper values to enter, leave the fields empty. 8. Export the file. HDR files require a 10-bit or higher codec, such as Apple ProRes. Note: Check the “Color space” field in the Settings pane of the Share window before you export to ensure that the project color space is set to Wide Gamut HDR - Rec. 2020 PQ. Export an HLG file 1. In the Final Cut Pro browser, select the project you want to export. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Set the color processing for the library to Wide Gamut HDR. 4. Set the project color space to Wide Gamut HDR - Rec. 2020 HLG. 5. Export the file. HDR files require a 10-bit or higher codec, such as Apple ProRes. Note: Check the “Color space” field in the Settings pane of the Share window before you export to ensure that the project color space is set to Wide Gamut HDR - Rec. 2020 HLG. Final Cut Pro does not support the creation of other HDR formats, such as HDR10+, Dolby Vision, and Advanced HDR, but you can use Final Cut Pro to export an HDR movie with the Rec. 2020 PQ standard and then use other color grading software to generate the necessary metadata for these formats. You can, however, share your project in Dolby Vision 8.4, a format designed to optimize HDR content for Apple devices. See Share to Apple devices and this Apple Support article. For more detailed information about color spaces and wide-gamut HDR, see HDR and Wide Color Gamut in Final Cut Pro. Wide-gamut HDR tips in Final Cut Pro The following tips can help you streamline your wide-gamut HDR workflow: • On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as color correction. See Color correct HDR video with Pro Display XDR. On a system with macOS Catalina 10.15 or later, an SDR display, and Final Cut Pro 10.4.7 or later, the HDR image in the Final Cut Pro viewer is tone mapped to fit the properties of the SDR display. See View HDR video. Final Cut Pro User Guide 688 Important: When using Final Cut Pro on a system with an SDR display, you can use the A/V Output feature with an external reference HDR video monitor to accurately play back the wider range of colors in an HDR project. See Play media on an external display. • You can use the HDR Tools effect to convert between color spaces and HDR standards, or to limit the brightness of a clip to a specific level. See Convert or adjust HDR clips. • You can fix missing or incorrect color space metadata using the Color Space Override pop-up menu in the Info inspector. See Change a clip’s color space metadata. • You can use guides in the waveform monitor to precisely measure and set video levels. Guides are useful as a quick annotation or reference point. To add a horizontal guide, click once anywhere in the waveform monitor. To remove the guide, drag it off the top or bottom of the waveform monitor. • Because the library color-processing setting affects all projects and media in the library, it’s a good idea to create a separate library for each project or deliverable. This prevents accidental color space crossover issues. See Create a new library. • Dolby Vision 8.4 is a format designed to optimize HDR content for Apple devices. See Share to Apple devices and this Apple Support article. Color correct ProRes RAW in Final Cut Pro Apple ProRes RAW lets you work with the camera sensor’s raw data in Final Cut Pro. Because ProRes RAW preserves the full dynamic range and color gamut captured by the camera, it’s an ideal format for creating and color correcting wide-gamut, high-dynamicrange (HDR) content. If you want to create standard-dynamic-range (SDR) content, such as high-definition broadcast (Rec. 709) video, the high dynamic range of a ProRes RAW source file must be restricted to a dynamic range suitable for viewing on an SDR display. This process is called tone mapping. Most professional cameras today support recording in a log format. Using log enables a higher dynamic range of light levels to be represented. Because many color correction workflows are based on working with log video, Final Cut Pro can automatically apply a log conversion setting to ProRes RAW media files during import. You can also apply a custom log conversion setting using a lookup table (LUT) effect. For more information about LUTs and log conversion, see Apply LUTs. Final Cut Pro User Guide 689 There are three primary ways to color correct ProRes RAW video in Final Cut Pro: • Use log conversion with built-in camera LUTs: Use the automatic log conversion applied by Final Cut Pro to color correct ProRes RAW video as if it were SDR video. Setting library color processing to Wide Gamut HDR lets you work with ProRes RAW video as if it were HDR video. • Use log conversion with custom LUT effects: Use a custom LUT effect (instead of a built-in camera LUT) to apply log conversion to ProRes RAW video, so you can color correct it as if it were log video. • Color correct directly without LUTs: Turn off automatic log conversion, which lets you color correct ProRes RAW video as HDR video, whether library color processing is set to Standard or Wide Gamut HDR. For more information, see Apple ProRes RAW. Use log conversion with built-in camera LUTs With the RAW to Log Conversion setting applied, ProRes RAW files behave just like conventional log video and can be edited the same way. Because ProRes RAW files contain metadata that identifies the camera manufacturer, Final Cut Pro can apply the correct log function (such as Canon Log 2, Panasonic V-Log, or Sony S-Log3) during import. You can also manually adjust the RAW to Log Conversion setting in the General, Extended, or Settings view of the Info inspector. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. Final Cut Pro User Guide 690 4. Click the RAW to Log Conversion pop-up menu and choose an option. As with all video shot with log encoding, Final Cut Pro automatically applies the Camera LUT setting based on metadata in the file that identifies the camera manufacturer. You can view the Camera LUT setting in the Info inspector. 5. To change the library color processing setting so that the full dynamic range of the original video is available in the working color space, select the library in the Libraries sidebar, choose File > Library Properties, then click the Modify button at the top of the inspector. 6. Select Wide Gamut HDR. When color processing is set to Wide Gamut HDR, the built-in camera LUT does not apply tone mapping and preserves the full dynamic range for color correction and effects. Use log conversion with custom LUT effects You can use a custom LUT effect (instead of a built-in camera LUT) to color correct ProRes RAW video as though it were log video. The LUT effect provides the conversion from log to the output color space. You can purchase and download LUT effects from a variety of sources, or you can create one yourself using inexpensive color correction software or plug-ins. You import and apply LUT effects using the Custom LUT effect in the Final Cut Pro Effects browser. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. Final Cut Pro User Guide 691 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. 4. Click the Camera LUT pop-up menu and choose None. When Camera LUT is set to None, the color correction tools (such as color wheels and color curves) and other effects operate on the log-encoded values. No tone mapping is applied to the source, and no dynamic range is lost. 5. Apply color correction and any other video effects. 6. To open the Effects browser, choose Window > Show in Workspace > Effects. 7. Select the Color category on the left, then double-click Custom LUT to apply the effect to the selected clip. 8. If the Video inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Video button at the top. 9. In the Custom LUT section of the Video inspector, click the LUT pop-up menu and choose “Choose Custom LUT.” Note: If you previously imported a LUT effect, you can choose Recent and then choose from a list of recently used LUT effects. 10. In the window that appears, navigate to the LUT file you want to import, and select it. Final Cut Pro User Guide 692 11. Click Open. The LUT effect you imported appears as the selected LUT at the top of the Custom LUT section. 12. Click the Input pop-up menu and choose the color space the LUT effect converts from. 13. Click the Output pop-up menu and choose the color space the LUT effect converts to. Note: Make sure the Custom LUT effect is the last effect in the effects list. If it isn’t, you can simply drag it to the bottom of the list. Color correct directly without LUTs You can color correct ProRes RAW video as HDR video, regardless of the library colorprocessing setting. To do this, you change the RAW to Log Conversion and Camera LUT settings to None. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. Final Cut Pro User Guide 693 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. 4. Click the RAW to Log Conversion pop-up menu and choose None, then click the Camera LUT pop-up menu and choose None. No tone mapping is applied to the source, and the full dynamic range is available in the working space, even in libraries set to Standard color processing. Although highlights may initially appear blown out, you can correct this using color correction tools, such as color wheels and color curves. Apply LUTs in Final Cut Pro A lookup table (LUT) is a set of data that enables a numeric transformation of pixel values to change the way an image looks. A common use of LUTs in video post-production is log conversion. Many modern cameras have a log or wide-dynamic-range recording option that provides more f-stops of exposure latitude in the image. Video footage recorded with this option initially looks “flat.” You can apply LUTs to change the appearance of log footage to a standard broadcast specification, such as Rec. 709. Another common use of LUTs is to stylize video clips with a particular “look.” Beyond just matching some objective model of exposure, you can subtly mix color to enhance the story you’re telling with your project. Color adjustments can alter the audience’s perception of the scene being played, changing a program’s mood. Final Cut Pro supports two categories of LUTs: • Camera LUTs (also known as camera log conversion LUTs) provide log processing for media from modern video cameras that have a log recording option. When applied to log media from a supported camera, camera LUTs built into Final Cut Pro convert the media to the working space of the current library. If the library is set to Wide Gamut HDR, camera LUTs preserve the full dynamic range of the log media. Depending on the source camera, these built-in camera LUTs also take into account metadata such as camera exposure index, ISO setting, and white balance. When you import media, Final Cut Pro detects metadata in the media identifying the log format and automatically applies the appropriate built-in camera LUT. Camera LUTs are applied at the media level (across the library) and are applied before any clip effects. In contrast, Custom LUT effects (described below) are clip effects that can be applied at any position in the effect order. You can also import additional camera LUTs (known as custom camera LUTs). Custom camera LUTs can be provided by camera manufacturers or can be created by your director of photography, digital imaging technician (DIT), or colorist using a third-party color grading app. You can use custom camera LUTs to correct color in your program or to apply stylized looks. See Example: Use custom camera LUTs in your workflow. • Custom LUT effects allow you to easily create, import, or share custom looks for video clips and projects according to your creative needs. Custom LUT effects are clip effects that you apply to timeline clips from the Effects browser. You can also use Custom LUT effects to apply tone mapping, allowing for a custom conversion to the project’s output color space. Final Cut Pro User Guide 694 Apply a camera LUT Some cameras embed metadata in the media file, enabling Final Cut Pro to turn on the appropriate log processing setting automatically. Many cameras do not embed this metadata, and sometimes the metadata may simply be lost if the material is transcoded. You can apply a camera LUT to one or more video clips, or switch to a different camera LUT, using the Info inspector. Note: Final Cut Pro preserves the full dynamic range of the log media as long as color processing for the library is set to Wide Gamut HDR. If the library is set to either Standard or Wide Gamut (Deprecated) when you apply a camera LUT, the media is tone mapped (downgraded) to the narrower standard dynamic range (SDR). See Intro to wide color gamut and HDR. 1. In Final Cut Pro, select one or more video clips recorded with the log option. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose General, Extended, or Settings. 5. Click the Camera LUT pop-up menu and choose an option for converting the appearance of your footage: • None: Turns off log processing. • ARRI Log C: Applies ARRI Log C linearization with a default tone mapping. • ARRI Log C (3D LUT): Uses the 3D LUTs embedded in the media to apply a custom look. • Blackmagic Design Film: Applies the appropriate linearization and a tone mapping for the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera. • Blackmagic Design Film 4K: Applies the appropriate linearization and a tone mapping for the Blackmagic Production Camera 4K. • Canon Log: Applies the appropriate linearization for Canon Log. Final Cut Pro User Guide 695 • Canon Log2/Cinema Gamut: Uses Canon’s EOS C300 Mark II 3D LUTs that convert Canon Log 2 with Cinema Gamut to Wide DR gamma. • Canon Log3/Cinema Gamut: Uses Canon’s EOS C300 Mark II 3D LUTs that convert Canon Log 3 with Cinema Gamut to Wide DR gamma. • Panasonic V-Log: Uses Panasonic’s Varicam 35 3D LUTs that convert V-Log to V-709/V-2020. • Sony S-Log2/S-Gamut: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log2/S-Gamut setting on Sony cameras such as the F5 and F55. • Sony S-Log3/S-Gamut3: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log3/S-Gamut3 setting on Sony cameras such as the F5 and F55. • Sony S-Log3/S-Gamut3.Cine: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log3/S-Gamut3.Cine setting on Sony cameras such as the F5 and F55. If you’ve imported custom camera LUTs, you can choose one from the Custom Camera section of the pop-up menu. Final Cut Pro applies the camera LUT you chose, and alters the look of the video clip accordingly. The change is applied to all instances of the clip, in all projects and events in the current library. Note: Final Cut Pro properly displays Apple ProRes media captured with the ARRI ALEXA camera Log C recording option and imported with Final Cut Pro 10.0.8 or later. If Log C media was imported into an earlier version of Final Cut Pro, Log C processing is disabled by default for that media. Import a custom camera LUT 1. Select a video clip in the Final Cut Pro browser or timeline. 2. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose General, Extended, or Settings. 3. Click the Camera LUT pop-up menu and choose Add Custom Camera LUT. 4. In the window that appears, navigate to the LUT file you want to import, and select it. You can import 3D LUT files with the filename extensions .cube and .mga. You can select single files, multiple files, or a folder of files. 5. Click the Output Color Space pop-up menu and choose the target color space that the custom camera LUT converts to. The target color space is usually indicated in the custom camera LUT name. Final Cut Pro User Guide 696 6. Click Open. The custom camera LUT you imported appears in the Custom Camera section of the Camera LUT pop-up menu. If you imported a folder of LUT files, it appears as a submenu in that section of the pop-up menu. To remove imported custom camera LUTs from the Camera LUT pop-up menu, choose Reveal in Finder to open the Camera LUTs folder, drag the LUT files to the Trash, and reopen Final Cut Pro. Note: If you imported a custom camera LUT and applied it to a clip, but the LUT file is missing from the Camera LUTs folder, a yellow warning button appears next to the Camera LUT pop-up menu. Click the warning button to reimport the custom camera LUT or to replace it with a different one. Share a custom camera LUT You can easily copy imported custom camera LUTs to another computer or share them with friends and colleagues. 1. Select a video clip in the Final Cut Pro browser or timeline. 2. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose General, Extended, or Settings. 3. To open the Camera LUTs folder in the Finder, click the Camera LUT pop-up menu and choose Reveal in Finder. The Camera LUTs folder is in the following location: /Users/username/Library/Application Support/ProApps/Camera LUTs/ 4. In the Finder, select the LUT files you want to share, then choose File > Compress. Compressing the files prevents any change to custom layouts during transit. 5. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. Final Cut Pro User Guide 697 6. On the receiving Mac, double-click the ZIP file to decompress it. 7. To import the LUT file, see Import a custom camera LUT. Note: If you copy a library that uses an imported custom camera LUT, you must copy the custom camera LUT as a separate file. If the LUT file is missing from the Camera LUTs folder, a yellow warning button appears next to the Camera LUT pop-up menu. Click the warning button to reimport the custom camera LUT. Example: Use custom camera LUTs in your workflow If implemented correctly, custom camera LUTs offer multiple benefits to productions shooting log footage. In Final Cut Pro, you can: • Access the full dynamic range of log media. • Stylize footage with custom looks to suit your filmmaking needs. • Play back without rendering. This is essential for directors and DPs to review takes immediately, on the set. • Apply custom camera LUTs directly in the browser. This makes viewing dailies quick and easy. (In contrast, Custom LUT effects must be applied to clips in the timeline.) Below is an outline of how you might use LUTs in your production and post-production workflows. 1. Before shooting begins, the director of photography (DP) creates a custom camera LUT on the set of a production that is using cameras with a log recording option. 2. The digital imaging technician (DIT) imports the DP’s custom camera LUT. 3. As the footage is downloaded from the camera, the DIT selects the relevant shots in the browser and applies the DP’s custom camera LUT. 4. The director and DP conduct the on-set review with the custom camera LUT applied. Clips are played back directly from the browser. The organizational capabilities of Final Cut Pro (such as Keyword Collections) make it easy to quickly find the best parts of each “circle take” (a take the director considers noteworthy). Because camera LUTs are applied nondestructively, the DP can replace the custom camera LUT with an adjusted one at any time. 5. The DIT sends out dailies (generating them directly from the browser) with the custom camera LUT applied. See Batch sharing. 6. During the editing and finishing phases, editors and colorists may replace the DP’s custom camera LUT—for example, they might augment the LUT by adding one or more color correction effects. See Intro to color correction effects and Manual color correction workflow. If a more stylized look is required (such as Summer, Old Timey, Sci-Fi, and so on), editors or colorists can add Custom LUT effects to the same footage. See Import and apply a Custom LUT effect. Stylized Custom LUT effects are available from a variety of third-party sources. Final Cut Pro User Guide 698 Import and apply a Custom LUT effect In contrast to camera LUTs, Custom LUT effects are applied by adding a clip effect to timeline clips. 1. Select a clip in the Final Cut Pro timeline. 2. Open the Effects browser, select the Color category on the left, then double-click Custom LUT to apply the effect to the selected clip. See Add video effects. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. In the Custom LUT section of the Video inspector, click the LUT pop-up menu and choose “Choose Custom LUT.” Note: If you previously imported a custom LUT, you can choose Recent and then choose from a list of recently used Custom LUT effects. 6. In the window that appears, navigate to the LUT file you want to import, and select it. You can import 3D LUT files with the filename extensions .cube and .mga. You can select single files, multiple files, or a folder of files. 7. Click Open. The LUT you imported appears as the selected LUT at the top of the Custom LUT section. If you imported a folder of LUT files, it appears as a submenu in the LUT pop-up menu. (In this case, choose a LUT from the submenu so that it appears as the selected LUT at the top of the Custom LUT section.) Final Cut Pro User Guide 699 8. Click the Input pop-up menu and choose the color space the LUT converts from. This color space was determined when the custom LUT was created. Note: Camera LUTs and custom LUTs typically include the names of the input (source) color space and intended output (target) color space in the LUT filename. If you’re not sure which color space to choose, see the LUT creator for more information. 9. Click the Output pop-up menu and choose the color space the LUT converts to. This color space was determined when the custom LUT was created. 10. To optionally set the amount of the original image to be blended with the adjusted image, drag the Mix slider. Final Cut Pro applies the custom LUT and the settings you chose, and alters the look of the video clip accordingly. Share a Custom LUT effect You can share custom LUTs by copying the LUT files to another Mac. 1. In the Final Cut Pro timeline, select a clip that has the Custom LUT effect applied. To apply the Custom LUT effect, see Import and apply a Custom LUT effect. 2. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. To open the Custom LUTs folder in the Finder, click the LUT pop-up menu in the Custom LUT section of the inspector and choose Reveal in Finder. The Custom LUTs folder is in the following location: /Users/username/Library/Application Support/ProApps/Custom LUTs/ 5. In the Finder, select the LUT files you want to share, then choose File > Compress. Compressing the files prevents any change to custom layouts during transit. 6. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. 7. On the receiving Mac, double-click the ZIP file to decompress it. 8. To import the Custom LUT effect, see Import and apply a Custom LUT effect. Final Cut Pro User Guide 700 To remove imported custom LUTs from the LUT pop-up menu, follow the steps above to open the Custom LUTs folder, drag the LUT files to the Trash, then reopen Final Cut Pro. Note: If you copy a library that uses a Custom LUT effect, you must copy the LUT as a separate file. If the LUT file is missing from the Custom LUTs folder, a yellow warning button appears next to the LUT pop-up menu. Click the warning button to reimport the LUT or replace it with a different LUT. Color correction tools and techniques Keyframe color corrections in Final Cut Pro In Final Cut Pro, you can create changes to color correction settings over time. For example, you can animate brightness, hue, or saturation adjustments to correct issues caused by a lighting change or a camera movement. Or you can track moving objects with shape masks built into every color correction effect. You place keyframes at specific points in a clip to change parameter values at those points. You can set keyframes in color correction effects in the timeline or in the Color inspector. To see keyframes in the timeline, you need to display the Video Animation editor for the clip. For more information about using keyframes, see Intro to video keyframing. 1. Add a color correction effect to a clip in the Final Cut Pro timeline. 2. Do one of the following: • Select the clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip in the timeline and choose Show Video Animation. Each effect in the Video Animation editor has a separate area for adding keyframes. The color correction effect you added appears in the list of effects. Final Cut Pro User Guide 701 3. In either the Video Animation editor or the Color inspector, select the color correction effect for which you want to add keyframes. Note: For some effects, you can display and keyframe individual parameters in the Video Animation editor. See Add keyframes. 4. Do one of the following: • In the Video Animation editor: Option-click (or press Option-K) at a point on the horizontal effect control where you want to add the keyframe. Keyframes for individual parameters appear as white diamonds. Keyframes for multiple parameters appear as double diamonds. Because color correction keyframes control all parameters in a given color correction effect, they always appear as double diamonds. • In the Color inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button at the top of the Color inspector (or press Option-K). After you add a keyframe, the Keyframe button becomes solid yellow, indicating that the playhead is currently on this keyframe. Final Cut Pro User Guide 702 When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Color inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the color correction effect in the Color inspector. Add transitions between color corrections in Final Cut Pro The most powerful and accurate way to change a color correction over time is to use keyframes to animate the changes. However, there may be times when you want to use a transition instead. For example, if you want a scene to gradually highlight the face of an actor, you could use a transition to dissolve between the original clip and a second instance of the clip that has a shape mask around the face and a color correction that darkens the image outside of the mask. 1. In Final Cut Pro, temporarily switch to the Blade tool by holding down the B key. 2. In the timeline, click a video clip at the point where you want to change between color corrections. The clip splits into two clips. 3. Apply a different color correction to each clip. You can also leave one clip uncorrected and apply a color correction to the other. The color correction could be an exaggerated tint, an exposure change, or any other noticeable adjustment. 4. Select the edit point between the two clips, then press Command-T to insert a cross dissolve. When you play the clip, one color correction dissolves into the other as the edit point is passed. Save color correction presets in Final Cut Pro You can save a clip’s color correction settings as a preset, making it easy to apply those settings to other clips in the same project or a different project. Save a color correction preset 1. In the Final Cut Pro timeline, select a clip that has the color correction look you want to save, then open the color correction in the Color inspector. 2. Click the Save Effects Preset button in the lower-right corner of the Color inspector. Final Cut Pro User Guide 703 3. In the window that appears, adjust the settings for the preset: • Name: Type a name for the preset. • Category: Choose the Effects browser category your preset will appear in. • Attributes: Make sure the checkboxes for the attributes you want to include in the preset are selected. • Keyframe Timing: If your color correction preset includes keyframes, select one of the following: • Maintain: Leaves the duration between keyframes unchanged. • Stretch to Fit: Adjusts the keyframes in time to match the duration of the destination clip. 4. Click Save. Apply a color correction preset You apply a color correction preset as you would apply any other clip effect from the Effects browser. 1. Select a clip in the Final Cut Pro timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, select the color correction preset that you saved previously. 3. Do one of the following: • Drag the preset to the timeline clip you want to apply it to. • Double-click the preset thumbnail to apply the preset to the selected clip. The preset’s adjustments are applied to the selection. After the preset has been applied, you can modify its settings using the Color inspector. For more information about adding clip effects, see Add video effects. Compare color corrections in Final Cut Pro You can show the comparison viewer next to the viewer to compare the color in any two frames of video side by side. You can also save up to 30 video frames for future comparisons. See Compare two video frames. Final Cut Pro User Guide 704 Measure video levels Intro to measuring video in Final Cut Pro Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video program exceeds these limits, distortion can appear in the form of colors bleeding into one another, the whites and blacks of your program washing out, or the picture signal bleeding into the audio signal and causing audible distortion. In all these cases, exceeding standard signal levels can result in unacceptable transmission quality. When you’re color correcting clips in your project, you can use the Final Cut Pro video scopes and range check overlay to make sure that the luma and chroma levels of your video stay within the parameters referred to as broadcast-safe, or acceptable for broadcast. Final Cut Pro provides the following video measurement tools: • Waveform monitor • Vectorscope • Histogram • Range check overlay Even if your project is not intended for broadcast, using these tools is an important part of your workflow. If the monitors you’re using don’t display color accurately or you’ve been working with the same clips for a while, you can easily get used to seeing a color cast, or blacks that aren’t quite right. The video scopes provide exact measurements of the luma and chroma levels of your clips so that you can make more informed color correction decisions. You can display multiple video scopes at once and choose from among 12 different scopes layouts. See Display video scopes. To ensure accurate information in the video scopes and range check overlay, make sure your video clips have the correct color space metadata. See Change a clip’s color space metadata. Additionally, you can use the Broadcast Safe filter (available in the Effects browser) as a quick way to reduce luma and chroma levels that exceed the specification limits for standard and wide-gamut color spaces in standard-dynamic-range (SDR) video media. To add the Broadcast Safe filter, see Add video effects. Final Cut Pro User Guide 705 Display video scopes in Final Cut Pro You can show video scopes next to the video image in the viewer and the event viewer. You can also show video scopes in the comparison viewer when you compare video frames. Show video scopes 1. In Final Cut Pro, do one of the following: • Open a video scope in the viewer: Choose View > Show in Viewer > Video Scopes (or press Command-7). • Open a video scope in the event viewer: Choose View > Show in Event Viewer > Video Scopes. You can also click the View pop-up menu in the top-right corner of the viewer, event viewer, or comparison viewer and choose Video Scopes from the Show section. 2. To choose the scope to display, click the Scope button , then choose a video scope from the top section of the menu that appears. 3. Choose the display options for the scope from the bottom section of the menu. Change video scopes display settings You can display up to four video scopes at the same time and choose from 12 different scopes layouts, including a vertical layout in which scopes appear below the viewer. You can also adjust brightness controls, enable quantitative guides, and display monochrome scopes. 1. Open a video scope in Final Cut Pro. Final Cut Pro User Guide 706 2. Click the View pop-up menu above the video scopes display and choose display settings. • Choose a video scopes layout: Click one of the 12 layout icons. Note: If you choose a layout with multiple video scopes, each scope pane appears with its own Scope button that you can use to set the display options for that scope. • Display scopes below the video image: Choose Vertical Layout. • Display quantitative data and guide lines: Choose Show Guides. • Set the video scopes display to black and white: Choose Monochrome. • Adjust the video scopes brightness level: Drag the Brightness slider at the bottom of the menu. Final Cut Pro User Guide 707 Below are some examples of the many possible combinations of video scopes layouts and settings. Final Cut Pro User Guide 708 Waveform monitor display options in Final Cut Pro The waveform monitor shows the relative levels of luma, chroma, RGB, or luminance (HDR Rec. 2020 PQ clips and projects only) in the clip currently being examined. These values are displayed from left to right, mirroring the relative distribution of the luma and chroma levels in the image. Spikes and dips in the displayed waveforms correspond to light and dark areas in your picture. The waveforms are also tinted to match the color of items in the video. Note: The measurement data on the y-axis of the waveform monitor may change to reflect the color space of the current selection in either the browser or the timeline. See Intro to wide color gamut and HDR. The Scope menu in the upper-right corner of the waveform monitor provides a variety of display options: • RGB Parade: Presents three side-by-side waveform displays that show your video as separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. Final Cut Pro User Guide 709 The RGB Parade view is useful for comparing the relative levels of red, green, and blue between two clips. If one clip has more blue than another, the waveform monitor displays an elevated blue waveform for the clip with more blue and a depressed blue waveform for the other clip. Negative component values signify colors that are out of gamut. For example, a blue that is out of gamut may have negative red and green components. • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. • Red: Shows only the red color channel. • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. • Luma: Shows only the luma component of the video. This waveform is available only for Rec. 709, Rec. 2020, and Rec. 2020 HLG clips and projects. • Luminance: Shows only the luminance component of the video. This waveform is available only for Rec. 2020 PQ clips and projects. • Chroma: Shows only the chroma component of the video, with the component tinted to match the video’s colors. Final Cut Pro User Guide 710 • Y'CbCr Parade: Presents three side-by-side waveform displays for the separate Y (luma), Cb (blue color difference channel), and Cr (red color difference channel) components. The waveforms are tinted white (for luma), magenta (for Cb), and yellow (for Cr) so that you can easily identify the waveform for each component. • IRE: Displays the video range in IRE units. This is the only measurement unit available for Chroma and Y′CbCr Parade waveforms in the Rec. 2020 PQ color space. • Millivolts: Displays the video range in millivolts. • Nits (cd/m²): Displays the video range in nits (candelas per square meter). This option is available only for Rec. 2020 PQ clips and projects. Vectorscope display options in Final Cut Pro The vectorscope shows the distribution of color in your image on a circular scale. The color in your video is represented by a series of connected points that fall somewhere within this scale. The angle around the scale represents the hue displayed, with targets indicating the primary colors of red, green, and blue and the secondary colors of yellow, cyan, and magenta. The distance from the center of the scale to the outer ring represents the saturation of the color being displayed. The center of the scale represents zero saturation, and the outer ring represents maximum saturation. Final Cut Pro User Guide 711 The vectorscope shows you at a glance the hue and intensity of the various colors in your image. After you learn to identify the colors in your clips using the vectorscope, you can more easily see where two images differ and correct them so that they match as closely as possible. The Scope menu in the upper-right corner of the vectorscope provides a variety of display options: • 100%: Sets the reference chroma level for the color bar targets (the squares representing each color in a standard color bar test signal) at 100 percent saturated chroma. Use this when your source media uses 100 percent color bars as its reference. • 133%: Sets the reference chroma level for the color bar targets at 75 percent saturated chroma. Use this when your source media uses 75 percent color bars as its reference. • Vector: Uses a normal chroma hue reference, with red near the top. • Mark3: Uses a 90-degree rotated chroma hue reference, with red on the right side. • Show/Hide Skin Tone Indicator: Shows or hides the diagonal line that represents the human skin tone chroma phase, which is between the yellow and red color bar targets. Histogram display options in Final Cut Pro The histogram provides a statistical analysis of the image by calculating the total number of pixels of each color or luma level and creating a graph that shows the number of pixels at each percentage of luma or color. Each increment of the scale from left to right represents a percentage of luma or color, and the height of each segment of the histogram graph shows the number of pixels that correspond to that percentage. The Scope menu in the upper-right corner of the histogram provides a variety of display options: • Luma: Shows only the luma component of the video. The height of the graph at each step on the scale represents the number of pixels in the image at that percentage of luma, relative to all the other values. For example, if an image has few highlights, the histogram shows a large cluster of values in the midtones. Using the Luma histogram view, you can quickly compare the luma of two shots so that you can adjust their shadows, midtones, and highlights to match more closely. Final Cut Pro User Guide 712 The shape of the graph also helps you determine the amount of contrast in an image. A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the graph. • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. If the image being examined has equal levels of two or more colors, you see the combined color: • Equal levels of green and blue appear as cyan. • Equal levels of green and red appear as yellow. • Equal levels of red and blue appear as magenta. • Equal levels of red, green, and blue appear as gray. • RGB Parade: Presents three graphs that display your video as separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. You can use the RGB Parade view to compare the relative distribution of each color channel across the tonal range of the image. For example, images with a red color cast have either a significantly stronger red graph or weaker green and blue graphs. • Red: Shows only the red color channel. Final Cut Pro User Guide 713 • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. Detect out-of-gamut colors in Final Cut Pro You can use the range check overlay in the viewer to quickly highlight color values in your project that exceed the acceptable limits of color space standards. The colors highlighted by the range check overlay are determined by the color space (gamut) setting for your project. See Intro to wide color gamut and HDR and Use widegamut HDR color processing. • Click the View pop-up menu in the top-right corner of the Final Cut Pro viewer or event viewer, then choose an option from the Range Check section at the bottom of the menu: • Luma: Detects and indicates brightness (luma) values that may exceed broadcastsafe limits for the project’s color space setting. • Saturation: Detects and indicates color (chroma) values that may exceed broadcastsafe limits for the project’s color space setting, as well as negative or excessively high R, G, or B values. • All: Detects and indicates luma and saturation values that may exceed broadcastsafe limits for the project’s color space setting. If out-of-gamut colors are detected in the image, those areas are indicated with a pattern in the viewer. Final Cut Pro User Guide 714 Turn iMovie adjustments on or off in Final Cut Pro When editing a project in iMovie, you can adjust several video attributes, such as exposure, brightness, and saturation. If you import an iMovie project or event that has these adjustments into Final Cut Pro, the adjustments are retained and appear in the Effects area of the Video inspector. Although you can’t modify the adjustments added in iMovie, you can choose whether they are applied to the clip. 1. In the Final Cut Pro timeline, select a clip with iMovie adjustments. 2. In the Effects section of the Video inspector, select or deselect the iMovie Color Effect checkbox. Final Cut Pro User Guide 715 Share your project Intro to sharing projects in Final Cut Pro Final Cut Pro provides a variety of preconfigured export settings, called destinations, that you can use to output your project or clip. For example, you can export a project or clip as a file, export it for viewing on Apple devices such as iPhone and iPad, add it to social media websites, or burn it to a disc. You can also save a frame from your movie or export an image sequence. Each of these options uses a different destination. When you first open Final Cut Pro, a default set of destinations appears in the Share menu. Details about each destination in the default set are listed in the table below. Destination Use to DVD Burn your project to a standard-definition (SD) DVD. See Create optical discs and disk images. Export File (default) Export your project as a QuickTime movie file. See Export final mastering files. Apple Devices 720p Export files for playback on most Apple devices, including iPod touch, iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 720p. Of the three Apple Devices options, this option creates files with the lowest data rates and smallest file sizes. Final Cut Pro User Guide 716 Destination Use to Apple Devices 1080p Export files for playback on many Apple devices, including models of iPod touch, iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 1080p. Apple Devices 4K Export files for playback on recent models of iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 4K. Of the three Apple Devices options, this option creates files with the highest data rates and largest file sizes. YouTube & Facebook Prepare your projects and clips for sharing on the web. See Share on the web. You can easily add destinations or replace the default set of destinations with your own customized destinations. For example, if you want to save a frame from your movie as a Photoshop file, you need to add the Save Current Frame destination to your set and specify that the destination export a Photoshop file. You create and modify destinations in the Destinations pane of Final Cut Pro preferences. You can also create a bundle of destinations to export several types of output at once. See Create share destinations. To further customize your output, you can use Compressor, the professional transcoding app. See Share using Compressor. Share to Apple devices with Final Cut Pro To export your project to an Apple device such as iPhone, iPad, or iPod touch, or to play your project on a home theater system using Apple TV, you must send the project to the Apple TV app. (If you’re using macOS 10.14 or earlier, you send your project to iTunes.) You can use the default export settings or customize the settings to suit your needs. For information about customizing settings, see Create share destinations and Change metadata for shared items. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. Final Cut Pro User Guide 717 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share, then choose an Apple Devices destination from the submenu. • Click the Share button in the toolbar, then click an Apple Devices destination. The Info pane of the Share window appears, showing the video image on the left and project information on the right. To skim the video, move the pointer over the image. Note: If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. 4. To modify project or clip attributes, such as the title and description, enter information in the appropriate field. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. 5. To modify the settings for the exported file, such as the format or resolution, click Settings at the top of the Share window, then make your changes. For detailed descriptions of each setting, see Export File and Apple Devices destinations. Final Cut Pro User Guide 718 If you change the destination’s settings, the changes are saved as the default settings for the destination. See Intro to Destinations preferences. Note: Dolby Vision 8.4 is a format designed to optimize HDR content for Apple devices. See this Apple Support article. 6. To add the output media file to your Apple TV library, click the Action pop-up menu in the Settings pane, then choose Home Videos in the Add to TV section. 7. To review the tracks that will be included in the output media file, click Roles at the top of the Share window. The Roles pane displays the tracks of the output media file and the roles included in each track. 8. To include captions in the export, click Roles at the top of the Share window, then do one of the following: • Embed captions in the output video file: For each video track or file, click the blue Captions button, then click the Embed CEA-608 pop-up menu and choose a language version. • Export captions as separate files: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. For information about adding captions to your project, see Intro to captions and Create captions. Final Cut Pro User Guide 719 9. To see a list of devices that will play the exported file, move the pointer over the compatibility icon in the lower-right corner. Information about the file that will be exported, including the frame size and frame rate, appears at the bottom of the window. 10. When you’re ready to export your project, clip, or range, click Share. If you chose to add the output media file to your Apple TV library, the Apple TV app opens (if it wasn’t open), and the exported file appears in the Home Videos category. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Final Cut Pro User Guide 720 Export files Export final mastering files with Final Cut Pro You can use the Export File command to export your completed project as a high-quality file that can be used as the source media for the final stages of professional postproduction or broadcast and distribution. You may also consider this option when you want to use the media in another app, copy the media to an external storage device for a client to review, or publish the media to a website for which there are no preconfigured destination settings in Final Cut Pro. Your project is exported as a QuickTime movie. You can also use the Export File option to export an MXF file. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export File (or press Command-E). • Click the Share button in the toolbar, then click Export File. Final Cut Pro User Guide 721 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. For some destinations, you can also view a list of devices that will play the exported file. To view the compatible devices, move the pointer over the Compatibility icon in the lower-right corner. 5. To view or change the Export File destination settings, click Settings at the top of the Share window. The available settings vary based on which format you choose from the Format popup menu. For detailed descriptions of each setting, see Export File and Apple Devices destinations. For information about output file formats, see Supported export formats. Note: If you change the destination’s settings, the changes are saved as the default settings for the destination. 6. To export roles as separate video, title, audio, or caption tracks in the output media file, click Roles at the top of the Share window, then specify the roles to export. See Share roles as files. 7. Click Next, choose a location for the exported files, then click Save. Final Cut Pro User Guide 722 You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Export MXF files with Final Cut Pro MXF is an industry-standard file format for video and audio. Like QuickTime files, MXF files contain information about the media inside. This information, also called metadata, can include frame rate, frame size, creation date, and custom data added by a camera operator, an assistant, or an archivist. When you export MXF files, you can use audio roles to configure industry-standard channel layouts. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export File (or press Command-E). • Click the Share button in the toolbar, then click Export File. Final Cut Pro User Guide 723 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. For some destinations, you can also view a list of devices that will play the exported file. To view the compatible devices, move the pointer over the Compatibility icon in the lower-right corner. 5. Click Settings at the top of the Share window. 6. In the Settings pane, click the Format pop-up menu and choose MXF. Final Cut Pro User Guide 724 7. Click the “Video codec” pop-up menu and choose a video codec for the MXF file. The available video codecs are determined by the resolution and frame rate of your project. 8. Click Roles at the top of the Share window. 9. In the Roles pane, click the “Roles as” pop-up menu and choose one of the following: • Multitrack MXF File (the default setting) • A custom preset For information about creating a custom preset, see Create and modify custom presets. The default Multitrack MXF File setting presents a list of tracks (including a video track, a track for each audio subrole assignment, and a caption track). 10. Do any of the following: • Combine roles in a track: For any track in the list, click the Add Role pop-up menu (on the right) to add roles or subroles for the track. • Remove roles from a track: For any role, click the Remove button (on the right). • Choose an audio channel format for a track: For any audio track in the list, click the Channels pop-up menu and choose the channel format (Mono, Stereo, or Surround). See Configure audio channels. • Add an audio track to the export file: Click the Add Audio Track button, then choose a role or subrole and an audio channel format from the pop-up menus that appear. • Remove a track from the export file: Click the Remove button (with an X) to the right of the track name. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. • Add captions to the export: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. Final Cut Pro User Guide 725 Final Cut Pro will create a separate “sidecar” caption file for each language subrole in the selected caption formats and place the files in the same folder as the exported MXF file. For information about adding captions to your project, see Intro to captions and Create captions. • Save a preset: Click the “Roles as” pop-up menu and choose Save As in the Presets section. 11. Click Next, choose a location for the exported files, then click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. For more information about creating MXF files, see Create a multi-channel MXF file with Final Cut Pro. Export still images with Final Cut Pro You can save a still-image file of any video frame in your project or in any clip in the browser. 1. In the Final Cut Pro timeline or browser, position the playhead on the video frame you want to export as a still image. 2. Do one of the following: • Choose File > Share > Save Current Frame. Final Cut Pro User Guide 726 • Click the Share button in the toolbar, then click Save Current Frame. Important: The Save Current Frame destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Save Current Frame destination. See Create share destinations and Intro to Destinations preferences. 3. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify the still-image attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the still-image output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and output file type. 4. Click Settings to confirm the export settings or make any necessary adjustments: • Export: Choose an output file type for the still image you’re exporting. • Scale image to preserve aspect ratio: Leave this checkbox selected unless your project uses a non-square pixel format (such as 1440 x 1080) and you want to use the exported still image in another video project with the same non-square pixel properties. Final Cut Pro User Guide 727 • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 5. Click Next. 6. Enter a name and choose a location for the exported file, then click Save. Note: The Save Current Frame destination creates a still-image file. If you want to create a freeze frame or hold effect in your project, see Create freeze frames or Create hold segments. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Export image sequences with Final Cut Pro You can export your project’s visuals as an image sequence—a set of sequentially numbered still-image files that are compatible with many professional finishing, compositing, and grading apps. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export Image Sequence. • Click the Share button in the toolbar, then click Export Image Sequence. Final Cut Pro User Guide 728 Important: The Export Image Sequence destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Image Sequence destination. See Create share destinations and Intro to Destinations preferences. 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the files that will be exported, including frame size, frame rate, and output file type. 5. Click Settings to confirm the export settings or make any necessary adjustments: • Export: Choose an output file type for the image sequence you’re exporting. • Scale image to preserve aspect ratio: Leave this checkbox selected unless your project uses a non-square pixel format (such as 1440 x 1080) and you want to use the exported image sequence in another video project with the same non-square pixel properties. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Click Next. 7. If you selected a single range, enter a name for the image sequence you’re sharing. 8. Choose a location for the exported files, then click Save. The image sequence files are saved in a folder with the name you entered. Final Cut Pro User Guide 729 You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Export live-streaming files with Final Cut Pro If you want to post a movie on a streaming website, you can export an HTTP live-streaming playlist that’s linked to a group of movie segments (such as MPEG-4 files) compressed using different settings. When hosted using the related server software, the playlist dynamically chooses the best version for a user’s device and internet connection speed. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export for HTTP Live Streaming. • Click the Share button in the toolbar, then click Export for HTTP Live Streaming. Important: The HTTP Live Streaming destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the HTTP Live Streaming destination. See Create share destinations and Intro to Destinations preferences. Final Cut Pro User Guide 730 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the files that will be exported, such as frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings. 6. Select a file type for the exported file (MPEG-2 Transport Streams or Fragmented MP4). 7. Select one or more network types on which the movie will be streamed (Cellular, Wi-Fi, or Broadband). 8. If you added captions to your project, optionally click the “Burn in captions” pop-up menu and choose a language version. Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 9. Click Next. 10. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 11. Choose a location for the exported files, then click Save. Your selection is transcoded, and the exported segments are saved in folders. An index. html file and a readme.html file containing information on how to post your project to your website are included in the export. See your server administrator. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. Final Cut Pro User Guide 731 When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Share roles as files with Final Cut Pro You can share a project’s roles, exporting each media role as a separate media stem. For example, you can export a project’s dialogue, music, and sound effects as separate media files by assigning roles to the dialogue, music, and sound effects, and then exporting the roles. If your project contains captions, you can choose which language version (subrole) to export. You can embed captions in the output video file or export them as separate files. See Export captions. If you want to export the same roles from another project or clip later, you can save your settings as a preset. Share roles as separate files You can export media roles as a combined, multitrack QuickTime or MXF file, or as separate audio or video files. You can also choose mono, stereo, or surround output for your audio channels. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. Do one of the following: • Choose File > Share > Export File. • Click the Share button in the toolbar, then click Export File. Note: You can also choose another destination you created based on the Export File destination. 3. Click Settings at the top of the Share window, then specify the following settings (available settings depend on your source media): • Format: Choose a mastering format (Video and Audio, Video Only, or Audio Only). For information about exporting MXF files, see Export MXF files. Final Cut Pro User Guide 732 • Video codec: The source codec is listed by default. Depending on your source media, you can choose another codec. • Resolution: The resolution (based on the source footage) is provided. Depending on your source media, you can choose another resolution. • Color space: The color space (based on the project setting) is provided. See Modify a project’s settings and Use wide-gamut HDR color processing. • Audio file format: The source format is listed by default. Depending on your source media, you can choose another audio format. • Include chapter markers: Select the checkbox to include chapter markers with the exported file (or files). • Open with: Choose what you want to happen after the export is complete. See Export File and Apple Devices destinations. 4. Click Roles at the top of the Share window. 5. In the Roles pane, click the “Roles as” pop-up menu and choose how you want the roles exported. Note: The options available in this pop-up menu change based on your choices in the Format and “Audio file format” pop-up menus in the Settings pane. • QuickTime Movie: Exports all of the roles in the project as a single QuickTime movie. If you choose this option, skip step 7. • Multitrack QuickTime Movie: Exports the roles you specify as a single QuickTime movie. • Separate Files: Exports each of the video and audio roles you specify as a separate file. • Video Only as Separate Files: Exports each of the video roles you specify as a separate file. • Audio Only as Separate Files: Exports each of the audio roles you specify as a separate file. 6. To add captions to the export files, do any of the following: • Embed captions in the output video file: For each video track or file, click the blue Captions button, then click the Embed CEA-608 pop-up menu and choose a language version. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. • Export captions as separate files: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. For information about adding captions to your project, see Intro to captions and Create captions. Final Cut Pro User Guide 733 7. If you chose any format other than QuickTime Movie in step 5, do any of the following: • Add a track or file to the export: Click a purple Add Track or Add File button on the right, then choose a role or subrole. • Combine roles in an output track or file: For any track or file in the list, click the purple Add Role pop-up menu (on the right) to add roles or subroles. • Remove roles from a track or file: For any role, click the white Remove button (on the right). • Choose an audio channel format for a track: For any audio track or file in the list, click the Channels pop-up menu and choose the channel format (Mono, Stereo, or Surround). See Configure audio channels. • Remove a track or file from the export: Click the white Remove button (with an X) to the right of the track or file name. • Save a preset: Click the “Roles as” pop-up menu and choose Save As in the Presets section. 8. Click Next. 9. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 10. Choose a location for the exported files, then click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Final Cut Pro User Guide 734 Create and modify custom presets If you’ve created a customized list of roles to share, you can save it as a preset. 1. In Final Cut Pro, configure your share options using the instructions in Share roles as separate files, above. 2. In the “Roles as” pop-up menu, do any of the following: • Save a new preset: Choose Save As, type a name for the preset, then click Save. • Save changes to an existing preset: Select the preset and make your changes, then choose Save. • Save a modified preset as a new preset: Select the preset and make your changes, then choose Save As, type a name for the preset, and click Save. • Rename a preset: Select the preset, then choose Rename, type a new name for the preset, and click Save. Custom presets that you create appear in the “Roles as” pop-up menu. Custom presets are stored in /Users/username/Library/Application Support/ProApps/Export Presets/. To access them quickly, click the “Roles as” pop-up menu and choose Reveal User Presets in Finder. Delete custom presets You can delete custom presets that you no longer need. 1. Select a project or clip in Final Cut Pro, then click the Share button in the toolbar and choose Export File. 2. In the Share window, click the Settings button. 3. Click the “Roles as” pop-up menu and choose the custom preset that you want to delete. After you choose a preset, a checkmark appears next to its name. 4. Click the “Roles as” pop-up menu and choose Delete. Export formats supported in Final Cut Pro You can export to a number of formats natively using the Master File share destination. You can export to additional formats using settings in Compressor. Note: Depending on your project settings, some of the export formats listed below may not be available. Final Cut Pro User Guide 735 Export File destination All of the Export File destination formats below are available for the MOV container format (for supported source resolutions and frame rates). All of the formats below are also available for the MXF container format (with the exception of H.264, HDV, and Uncompressed 10-bit 4:2:2). You can export to the following using the Export File share destination: • Apple ProRes (all versions) • AVC-Intra Class 50/100/200 • DV (including DVCAM, DVCPRO, and DVCPRO50) • DVCPRO HD • H.264 • HDV • MPEG IMX (D-10) • MXF • Uncompressed 10-bit 4:2:2 • Uncompressed 8-bit 4:2:2 • XDCAM HD/EX/HD422 For more information, see Export final mastering files and Export MXF files. Compressor setting You can export to the following using a Compressor setting: • AAC • AIF • AVC-Intra (MXF) • CAF • Dolby Digital (AC3 and EC3) • FLAC • H.264 for Blu-ray streams • Image sequences • MP3 • MPEG-2 • MPEG-4 • QuickTime formats • Third-party plug-ins • WAV For more information, see Share using Compressor. Final Cut Pro User Guide 736 Share on the web with Final Cut Pro In Final Cut Pro 10.5.1 or later, you can use the YouTube & Facebook share option to save a project or clip as a file that is ready for posting on video-sharing websites. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > YouTube & Facebook. • Click the Share button in the toolbar, then click YouTube & Facebook. 4. In the Share window that appears, do any of the following: Final Cut Pro User Guide 737 • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings to confirm the settings and make any necessary adjustments. 6. In the Settings pane, enter the requested information: • Resolution: Choose a frame size. • Compression: Choose “Better quality” to maximize the quality. Choose “Faster encode” to speed up the encoding. • Export captions: If you added captions to your project, you can choose a language version to include with the video, either as embedded captions or as a separate sidecar file. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a language version to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 7. Click Next. 8. Enter a name for the output media file, navigate to a location on your Mac or storage device where you want to save the file, and click Save. Your project is transcoded to a format suitable for YouTube and Facebook: a MOV file with H.264 video and AAC audio. 9. Upload the file to YouTube or Facebook using the corresponding website or app. (You must first set up an account with the video-sharing service you plan to use.) You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Final Cut Pro User Guide 738 Create optical discs and disk images in Final Cut Pro You can burn a project, a clip, or a range selection to a standard-definition (SD) DVD or to a Blu-ray-compatible disc. There are two ways to create a Blu-ray-compatible disc: • Use an external optical drive that supports burning Blu-ray discs. • Use a standard DVD burner and standard red laser media to create an AVCHD disc with high-definition (HD) video content and menus. You can play AVCHD discs in Blu-ray players if they’re compatible with AVCHD discs. You can also create a disk image (.img) file that you can copy to an external storage device. You can send the disk image to a disc replication facility or burn it to DVD or Blu-ray disc media at a later time using Disk Utility. Markers are added to the file on the disc at 5-minute intervals, making it possible to use the DVD or Blu-ray player’s remote to skip forward or backward 5 minutes each time you press the Next Chapter or Previous Chapter button. Note: If Compressor is installed on your computer, you can use the Send to Compressor command to open the project in Compressor. See Send your projects or clips to Compressor and the Compressor User Guide. Burn an SD DVD or create an SD disk image file 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > DVD. • Click the Share button in the toolbar, then click DVD. Final Cut Pro User Guide 739 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings, then choose your preferred DVD settings: • Output Device: To burn a disc, choose an optical drive. To create a disk image (.img) file that you can copy to an external storage device or burn to DVD media later, choose Hard Drive. • Layers: Choose whether to burn a single-layer or dual-layer disc. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Choosing “Double-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. • Build type: Choose File to save a disk image (.dmg) file, or Folder to save a set of files in a folder. • Disc template: Choose an available template. Final Cut Pro User Guide 740 • Title: Enter the program title in the Title field. By default, the title is the project name in Final Cut Pro. • Volume name: Enter the filename for the disc. • Color space: This field can’t be edited. The values (Standard - Rec. 709 or Wide Gamut - Rec. 2020) are determined by the color space settings for your project. See Use wide-gamut HDR color processing. • When disc loads: Specify the DVD player’s action when the disc is inserted. Choose Show Menu to have a main menu appear, or choose Play Movie to begin playing the movie immediately. • Markers: Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the DVD or Blu-ray player. See Add chapter markers. • Loop: Select the checkbox to add a loop movie button to the DVD menu. • Background, Logo image, Title image: To add a background, logo, or title to menus, click the Add button, then select a graphic. To select a different graphic, click the Remove button (with an X), then click Add again. • Preview: View a representation of the menu. • Include captions: If you added CEA-608 captions to your project, you can choose the language version to include on the DVD. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the Eject button to the right of the Output Device pop-up menu, then insert a blank disc into your disc-burning device and click Burn. • If you’re creating a disk image file: Click Next, then enter a name for the file, choose a location to save it, and click Save. (By default, Final Cut Pro burns disk images as single-layer media, adjusting the bit rate accordingly.) Burn a Blu-ray or AVCHD disc, or create a disk image Blu-ray file 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. Final Cut Pro User Guide 741 This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Blu-ray / AVCHD. • Click the Share button in the toolbar, then click Blu-ray / AVCHD. Important: The Blu-ray / AVCHD destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Blu-ray / AVCHD destination. See Create share destinations and Intro to Destinations preferences. 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. Final Cut Pro User Guide 742 5. Click Settings, then choose your preferred Blu-ray / AVCHD settings: • Output Device: To burn a disc, choose an optical drive. To create a disk image (.img) file that you can copy to an external storage device or burn to optical media later, choose Hard Drive. • Layers: Choose whether to burn a single-layer or dual-layer disc. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Choosing “Double-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. • Build type: Choose File to save a disk image (.dmg) file, or Folder to save a set of files in a folder. • Disc template: Choose an available template. • Title: Enter the program title in the Title field. By default, the title is the project name in Final Cut Pro. • Volume name: Enter the filename for the disc. • Color space: This field can’t be edited. The values (Standard - Rec. 709 or Wide Gamut - Rec. 2020) are determined by the color space settings for your project. See Use wide-gamut HDR color processing. • When disc loads: Specify the Blu-ray player’s action when the disc is inserted. Choose Show Menu to have a main menu appear, or choose Play Movie to begin playing the movie immediately. • Markers: Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the Blu-ray player. See Add chapter markers. • Loop: Select the checkbox to add a loop movie button to the Blu-ray menu. • Background, Logo image, Title image: To add a background, logo, or title to menus, click the Add button, then select a graphic. To select a different graphic, click the Remove button (with an X), then click Add again. • Preview: View a representation of the menu. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the Eject button to the right of the Output Device pop-up menu, then insert a blank disc into your disc-burning device and click Burn. Final Cut Pro User Guide 743 • If you’re creating a disk image file: Click Next, then enter a name for the file, choose a location to save it, and click Save. (By default, Final Cut Pro burns disk images as single-layer media, adjusting the bit rate accordingly.) Note: Blu-ray and AVCHD menus are best suited for displays set to show 1080 lines of vertical resolution. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Share in email with Final Cut Pro You can create an email message in the macOS Mail app and include your movie as an attachment. 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Email. • Click the Share button in the toolbar, then click Email. Important: The Email destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Email destination. See Create share destinations and Intro to Destinations preferences. Final Cut Pro User Guide 744 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings to confirm the settings and make any necessary adjustments: • Resolution: Choose a frame size for your movie. • Compression: Choose “Better quality” to maximize the quality. Choose “Faster encode” to speed up the encoding. • Embed CEA-608: If you added captions to your project, you can choose a CEA-608 language version to embed in the output media file. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Important: Many email services limit the file size for attachments. If the message exceeds the maximum size allowed by your email provider, the message size in the macOS Mail app appears in red, along with the allowed limit (if the Mail app can retrieve that information from the email provider). Final Cut Pro User Guide 745 6. Click Share. After transcoding is complete, the Mail app opens, and an email is created with the Subject field filled in and the movie attached. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Batch sharing in Final Cut Pro You can export multiple projects, clips, or clip ranges at once, referred to as batch sharing. You select the projects, clips, or ranges in the browser and then share to specific destinations. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. Batch sharing is not available for all destinations. If the selected projects, clips, or clip ranges have identical settings (including roles settings, project settings, captions, frame rate, frame size, and so on), the share process is almost the same as when you share single items. For example, you can adjust the resolution and compression settings in the Settings pane of the Share window just as if you were sharing a single project, clip, or range. If the selected projects, clips, or ranges have mixed settings, you may need to change the settings in the individual projects before sharing the batch. Mixed roles If you selected projects with differing roles settings (for example, one of the projects has additional roles, or the projects have the same roles but some roles are disabled in some of the projects), you can’t add or remove roles in the Roles pane of the Share window. You must first adjust the roles in the individual projects using the Roles pane of the timeline index, and then share the batch. See Turn roles on or off. Mixed project settings If you selected projects with differing project settings (such as different frame rates or frame sizes), you can’t adjust those settings in the Settings pane of the Share window. You must first adjust the project settings in the individual projects, and then share the batch. See Modify a project’s settings. Final Cut Pro User Guide 746 Mixed caption settings If you selected multiple projects with differing caption settings (for example, different caption formats, different active languages, or captions that are enabled and disabled), you have several options for exporting captions. • You can export CEA-608, iTT, or SRT captions in any selected project as separate “sidecar” files with your finished media files. Final Cut Pro creates a folder for each project to hold the exported caption files. • If you selected projects with different active caption languages, you can use a pop-up menu to choose a language to include (or burn in). You can also have Final Cut Pro use the currently active caption language. Important: To change the active language, you must first adjust the caption settings in the individual projects using the Roles pane of the timeline index, and then share the batch. See Change the active language. • If you selected projects with CEA-608 captions, you can choose a language to embed or have Final Cut Pro embed the currently active CEA-608 caption language. Note: Embedded captions are not the same as burned-in captions. Other ways to use batch sharing You can use batch sharing with the Send to Compressor command to send your projects or clips to Compressor, which lets you customize your output using the options available in Compressor. See Send your projects or clips to Compressor. You can also use batch sharing in combination with destination bundles to easily export projects, clips, or ranges to multiple types of output, all in a single step. See Create a bundle of destinations. Share from Final Cut Pro using Compressor The destinations available in Final Cut Pro provide many options for exporting projects and clips. If you need more options, you can create highly customized export settings using Compressor, the professional transcoding app designed to work directly with Final Cut Pro. For example, you can use the Compressor frame resizing and retiming controls to make high-quality frame size and frame rate adjustments in your output files. Important: To export using Compressor, you must have a compatible version of Compressor installed. Compressor must be purchased separately. There are three ways you can use Final Cut Pro and Compressor together: • Use the Compressor Settings destination in Final Cut Pro to apply Compressor settings (either the Apple-supplied setting or custom settings you create). Exporting a project in this way lets you transcode your project using Compressor settings without opening your project in Compressor. You can also create several types of output in a single step using a destination bundle (see Create a bundle of destinations). • Use the Send to Compressor command to send your projects or clips to Compressor, which allows you to customize your output using the options available in Compressor. Final Cut Pro User Guide 747 • Use the Send iTMS Package to Compressor command to assemble an iTunes Store package in Compressor. If you plan to sell a movie in the iTunes Store, you must deliver the movie file plus a set of related files and information. Compressor makes it easy to assemble these items into a single iTunes Store package, which is the format required for submission to the iTunes Store. Share using the Compressor Settings destination Using this method, you add destinations in the Share menu that are based on Compressor settings. 1. In Final Cut Pro, create a new destination using the Compressor Settings destination. 2. Do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 3. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 4. Do one of the following: • Choose File > Share, then choose the destination you created in step 1 from the submenu. • Click the Share button in the toolbar, then click the destination you created in step 1. Final Cut Pro User Guide 748 5. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. 6. Click Settings to confirm the export settings and make any necessary adjustments. See Compressor Settings destination. 7. Click Next. 8. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 9. Choose a location for the exported files, then click Save. Send your projects or clips to Compressor 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. Final Cut Pro User Guide 749 2. Choose File > Send to Compressor. Note: The Send to Compressor command is dimmed if Compressor is not installed on the same computer as Final Cut Pro. If your project contains captions, you’re asked to choose a language version (subrole). Compressor opens with a new batch that contains one or more jobs corresponding to the items you selected in step 1. 3. Configure the job by clicking Add Outputs and following the instructions, then click Start Batch. Note: If you want to add or replace caption language subroles in a Compressor batch, you can export caption files using the File menu and then add them to the job in Compressor. Send an iTunes Store package to Compressor If Compressor is installed on the same Mac, you can send all the video, audio, and caption roles in your current Final Cut Pro project to Compressor as an iTunes Store package. For comprehensive information on iTunes Store packages, see the Compressor User Guide and Create an iTunes Store Package with Compressor. 1. In Final Cut Pro, select a project or clip in the browser, or open a project in the timeline. 2. Choose File > Send iTMS Package to Compressor. If your project contains more than one CEA-608 language, a pop-up menu appears allowing you to choose the CEA-608 language you want to send to Compressor. (You can send only one CEA-608 file to Compressor.) If your project contains iTT captions, a list of iTT language subroles in your project appears. Select one of the following settings for each iTT language subrole in the list: • Translation (Full): Outputs a full translation of all words spoken in the film using the language assigned to that subrole. During playback, viewers can turn these subtitles on or off. • Forced: Use when a person in the video speaks a language different from the main language of the video—for example, for a French-speaker in an otherwise Englishlanguage film. Forced subtitles can’t be turned off because they’re necessary to understand the content of the video. • Deaf and Hard of Hearing (SDH): Use for a full translation of all the words spoken in the video, as well as song lyrics and sound effects (owl hooting, scream in distance, and so on). During playback, viewers can turn SDH subtitles on or off. Compressor opens with a new batch that contains the new iTunes Store package, including the iTT captions you configured. If you had CEA-608 captions in your project, they appear in the iTunes Store package as closed captions. To configure the iTunes Store package, follow the instructions in the Compressor User Guide. Note: You can set Compressor to use the computer’s graphics processing engine (GPU) to display or transcode a Final Cut Pro project sent to Compressor for processing. For more information about configuring jobs and settings in Compressor, see the Compressor User Guide. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. Final Cut Pro User Guide 750 When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Create share destinations in Final Cut Pro In the Destinations pane of the Final Cut Pro Preferences window, you can modify existing destinations, add new destinations, delete destinations, and create destination bundles, which allow you to export multiple types of output at once. You can also revert to the default set of destinations that were available when you first opened Final Cut Pro. For information about sharing projects and clips from Final Cut Pro, see Intro to sharing projects. Create a new destination 1. In Final Cut Pro, do one of the following: • Choose File > Share > Add Destination. • Choose Final Cut Pro > Preferences, click Destinations at the top of the window, then select Add Destination in the Destinations list on the left. • Select a clip or project, click the Share button in the toolbar (shown below), then click Add Destination. Final Cut Pro User Guide 751 2. In the Destinations pane of the Preferences window, do one of the following: • Drag a destination from the area on the right to the Destinations list on the left (or double-click a destination on the right). • Control-click a destination in the Destinations list, then choose Duplicate. The new destination appears selected in the list on the left, and the settings for the destination appear on the right. 3. Specify settings for the new destination. For descriptions of the controls in each destination, see Intro to Destinations preferences. Final Cut Pro User Guide 752 Here are some tips for setting up various types of destinations: • If you chose a web destination: Enter your user name and password in the window that appears, then click OK. Depending on the destination you’re setting up, you may need to verify your account or your device. To do so, follow the onscreen instructions. In some cases, you can select a “Remember this password in my keychain” checkbox, so that you don’t have to enter your user name and password every time you share to the destination. • If you chose the Compressor Settings destination: Select a Compressor setting in the window that appears, then click OK. The settings that are displayed include the Compressor settings that come with Final Cut Pro as well as any settings you added. Important: You can use the Compressor Settings destination only if you have Compressor installed or someone gives you a Compressor setting. You can make changes to the destination at any time. For example, you can type a new name or use the controls on the right to change the destination settings. As you customize the destination, your changes are saved automatically. Modify existing destinations Note: You can modify an existing destination’s settings while you’re sharing a project or clip. For information about sharing projects and clips from Final Cut Pro, see Intro to sharing projects. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. The Destinations pane appears, with a list of destinations on the left. 2. Do any of the following: • Change a destination’s settings: Select a destination, then modify the destination’s settings on the right. Final Cut Pro User Guide 753 • Restore a destination to its original settings: Control-click a destination in the Destinations list, then choose Revert to Original Settings. The destination’s settings are restored to their original values. • Rename a destination: Double-click a destination in the list on the left, then type a new name. • Change the order of destinations in the list: Drag a destination to a different location in the list. For descriptions of the controls in each destination, see Intro to Destinations preferences. As you modify destinations, your changes are saved automatically. Create a bundle of destinations Bundles make it easy to create several types of output in a single step. A bundle holds a set of destinations. When you share a project or clip using the bundle, a file is output for each destination in the bundle. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Select Add Destination in the Destinations list, then double-click the Bundle destination (or drag it from the area on the right to the Destinations list on the left). An empty bundle appears in the Destinations list. 3. To add destinations to the bundle, drag existing destinations into it from the Destinations list, or select Add Destination and drag destinations from the area on the right into the bundle. Tip: To quickly make a bundle from destinations in the Destinations list, select one or more destinations in the Destinations list, then Control-click in the Destinations list and choose New Bundle from Selection. Delete a destination 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Do one of the following: • Control-click a destination in the Destinations list, then choose Delete. • Select a destination in the Destinations list, then press Delete. • Select a destination in the Destinations list, then click the Remove button (–) below the list. Assign a default destination After you set the default destination, you can quickly share to that destination by pressing Command-E. If a clip in the browser is selected, the clip is shared; if the timeline is active, the project is shared. By default, this keyboard shortcut is assigned to the Export File destination. To use the Command-E keyboard shortcut to share to another destination (or destination bundle), you can make that destination or bundle the default. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. Final Cut Pro User Guide 754 2. Control-click the destination or bundle you want to make the default, then choose Make Default. The name of the new default destination is appended with “(default).” Revert to the set of destinations that came with Final Cut Pro 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Control-click in the Destinations list, then choose Restore Default Destinations. Any custom destinations are deleted, and the default set of destinations appears. For a list of the default destinations, see Intro to sharing projects. Share destinations between Final Cut Pro users 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Do any of the following: • Export destinations from your copy of Final Cut Pro: Drag one or more destinations from the Destinations list to a location in the Finder. The destination file is appended with the filename extension .fcpxdest. • Import destinations into your copy of Final Cut Pro: Drag a destination file from a location in the Finder to the Destinations list. The destination you added appears in the Destinations list, the Share submenu of the File menu, and the menu that appears when you click the Share button in the toolbar. Final Cut Pro User Guide 755 Change metadata for shared items in Final Cut Pro In Final Cut Pro, you can customize the metadata—also called attributes—included with exported files. You can view and modify metadata for a shared project or clip in the Attributes section of the Share inspector. Change metadata to be shared with a project or clip 1. In Final Cut Pro, select a project or clip. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Share button at the top of the inspector. 4. In the Share inspector, type new text in an attribute field. If you type a word or phrase that has been defined as an attribute, the attribute (a word or phrase in a blue bubble) appears after you finish typing. Final Cut Pro User Guide 756 Choose the fields that appear in the Share inspector 1. In Final Cut Pro, select a project or clip. 2. Open the Share inspector. The Share inspector contains a pop-up menu you can use to customize attribute fields. 3. Using the Attributes pop-up menu, do any of the following: • Add an attribute field: Choose the field name (so that there’s a checkmark next to it). Fields with a checkmark are shown in the Share inspector, and the contents of those fields are exported with your project or clip as metadata. • Remove an attribute field: Choose the field name (so that there’s no checkmark next to it). • Show only the Final Cut Pro default attribute fields: Choose Show Default Fields. Choosing this option displays only the Title, Description, Creator, and Tags fields. Important: The default fields can’t be removed. • Save the selected attribute fields as your default set: Choose Save as Default. • Display your default set of attribute fields: Choose Update to Default. Final Cut Pro User Guide 757 Select the attributes that appear in a Share inspector field You can set the attributes that appear automatically in an attribute field. 1. In Final Cut Pro, select a project or clip. 2. Open the Share inspector, then click the Attributes pop-up menu and choose Edit Share Fields. 3. In the Edit Share Fields window, select an attribute field from the list on the left. The attributes assigned to the selected field appear in the Format field. 4. To edit the selected attribute field, do any of the following: • Add an attribute: Drag an attribute (a word or phrase in a blue bubble) from the middle of the window to the Format field. You can also type the attribute name in the field. • Add text: Type a word or phrase in the Format field. • Create a custom name attribute: Enter a word or phrase in the Custom Name field at the bottom of the window, then drag the Custom Name attribute to the Format field. Tip: Because the custom name attribute appears in the Format field as “Custom Name,” you can use it for long phrases or sentences and still easily view the other attributes and text in the Format field. • Remove an attribute or text: Select the attribute or text, then press Delete. As you add and remove attributes, the example (below the Format field) shows your changes. 5. When you’re finished, click OK. Final Cut Pro User Guide 758 View the status of shared items in Final Cut Pro When you share a project, you can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view the share history of a project and locate shared projects using the Share inspector. If you share your project or clip using the Export File destination (or any custom destinations you create based on the Export File destination), you can locate the shared file in the Finder. Open the Share inspector 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the shared project or clip you want to inspect. 2. In the browser, select the shared project or clip. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Share button at the top of the inspector. Final Cut Pro User Guide 759 A summary of the project’s or clip’s information appears at the top of the inspector, metadata (or attributes) included with the shared project or clip appears in the middle, and information about where the project or clip has been shared appears at the bottom. Click the shared item’s pop-up menu to access more options. Locate a shared project or clip in the Finder 1. In Final Cut Pro, select the shared project or clip. 2. Open the Share inspector, then click the shared item’s pop-up menu and choose Reveal in Finder. Note: Not all shared items generate an output file that you can reveal in the Finder. For more information about shared files, see Locate source media files. For information about removing a previously shared project or clip from a video-sharing website, see the documentation for the website. Final Cut Pro User Guide 760 Manage media, libraries, and archives Intro to media management in Final Cut Pro Final Cut Pro provides you with flexible and powerful tools to manage your media files. The first time you open Final Cut Pro, it automatically creates a library file in the Movies folder. You can import media into the library file or have Final Cut Pro access media files in other locations. The Final Cut Pro library database tracks your edit decisions, the associated metadata, and all your events, projects, and clips (as well as any optimized or rendered media files). The library database also keeps track of all your source media files (video files, audio files, or still-image files), whether they are stored in the Final Cut Pro library file or in other locations. As your library grows, you can rename, copy, move, and delete your clips, events, and projects as necessary. You can use multiple libraries and events to organize media and projects to suit your workflow. For example, copying or moving events is useful if you want to work on a project using another Mac that has Final Cut Pro installed, or if you want to free up storage space. Use other media management tools such as the Consolidate command for backups and managing shared storage. The following are some common media management tasks: • Transcoding your source media files to optimized or proxy formats that are high quality and easy to work with. See Create optimized and proxy files. Final Cut Pro User Guide 761 • Backing up your work. See Back up projects and libraries. • Consolidating source media files in one location. See Consolidate projects and libraries. • Locating source media files. See Locate source media files. • Relinking clips to media files. See Relink clips to media files. • Managing multiple libraries, including copying and moving items between libraries. See Intro to managing libraries. • Creating camera archives to save the contents of your camera or camcorder as readily available backups on any computer. See Create camera archives. Importing media from cameras, external storage devices, or other devices is also generally considered a form of media management. See Intro to importing media. Manage your media files View a clip’s information in Final Cut Pro The Info inspector provides a summary of a clip’s information. Here you can view status information about a clip’s source media file, including the file’s location, available media representations for the file, the event the clip is located in, and the event the clip references. 1. Select a clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 762 3. Click the Info button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Info inspector, scroll down to view the file information. For information about using optimized or proxy media for playback, see Control playback quality. For more general information about optimized and proxy media, see Create optimized and proxy files. Override a clip’s metadata in Final Cut Pro You can use the Info inspector to override information (called metadata) about a clip or group of clips selected in either the browser or the timeline. You can adjust color space information, anamorphic playback, and field order. For more information about managing metadata, including metadata views and naming presets, see Intro to metadata. Change a clip’s color space metadata The color space metadata for a video clip is sometimes missing or incorrect, especially when you use media that was created by third-party software. When this happens, the Color Profile field in the Info inspector is empty or shows unexpected values, which can result in the inaccurate display or color processing of the media. You can use the Color Space Override setting to correct the color space metadata so that Final Cut Pro processes and displays the selected clip correctly. It’s best to do this before attempting any color correction. Note: The steps below change a clip’s metadata only. If you want to adjust a clip’s luminance levels, see Convert or adjust HDR clips. Final Cut Pro User Guide 763 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Extended. 4. Locate the Color Profile field, and check to see whether the metadata is missing or incorrect. The metadata tag consists of three numbers, which refer to standard color spaces. Here are the correct codes for the standard formats: • 1-1-1: Rec. 709 (HD) • 9-16-9: Rec. 2020 PQ • 9-18-9: Rec. 2020 HLG • 9-1-9: Rec. 2020 SDR • 5-1-6: PAL SD • 6-1-6: NTSC SD 5. If the code is missing or incorrect, click the Metadata View pop-up menu in the bottomleft corner of the Info inspector and choose Settings. 6. Click the Color Space Override pop-up menu and choose the correct (original) color space for the selected clip. For more information about color spaces, see Intro to wide color gamut and HDR. Adjust anamorphic footage Some video camcorders and recording devices shoot at a widescreen 16:9 aspect ratio but record the data using a 4:3 aspect ratio. Sometimes the metadata tag specifying 16:9 playback in the video file is missing or set incorrectly. In Final Cut Pro, you can set this tag so that the video plays correctly with a widescreen 16:9 aspect ratio. Note: This option is available only for the following formats: standard definition (SD) and ARRI ALEXA 2K 4:3 (2048 x 1536). 1. In the Final Cut Pro browser or timeline, select the SD clips whose anamorphic setting you want to adjust. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 4. Click the Anamorphic Override pop-up menu and choose Widescreen. Final Cut Pro User Guide 764 Change a clip’s field order Modern video cameras and codecs support two kinds of video frame rates: progressive, in which video is recorded and stored as a series of whole frames, and interlaced, in which each frame is made up of two half-frames called fields. In the interlaced system, each field contains half the frame lines; one field contains lines 1, 3, 5, 7, 9 and so on, and the other field contains lines 2, 4, 6, 8, 10, and so on. When the video is played back, the TV displays the fields in an alternating pattern, which creates an effective illusion of smooth movement. A clip’s field order determines the temporal order of fields within a frame. Missing or incorrect field order metadata can result in awkward field movement and improper motion effects rendering (in a left-to-right wipe, for example). You can correct this order with the Field Dominance Override pop-up menu. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 4. Click the Field Dominance Override pop-up menu and choose one of the following: • Progressive: The video is displayed in complete frames with all lines sampled at the same instant in time. • Upper First: The video is interlaced and displayed as two separate interleaved fields. The field containing the top line is sampled at an earlier instant in time than the field containing the bottom line. This field order is commonly used for high-definition (HD) video and standard-definition (SD) PAL video. • Lower First: The video is interlaced and displayed as two separate interleaved fields. The field containing the bottom line is sampled at an earlier instant in time than the field containing the top line. This field order is commonly used for SD NTSC video. Locate source media files in Final Cut Pro You can locate the original source media file or proxy file (on your Mac or storage device) for any clip in your library. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clip. 2. Select the clip in the browser. 3. Do one of the following: • Locate the original source media file: Choose File > Reveal in Finder (or press ShiftCommand-R). • Locate the proxy file: Choose File > Reveal Proxy Media in Finder. A Finder window opens, with the file selected. You can also quickly find the source event clip for any clip in the timeline. See Find a project clip’s source clip. Final Cut Pro User Guide 765 Relink clips to media files in Final Cut Pro In Final Cut Pro, clips represent your media, but they are not the media files themselves (see Media files and clips). Final Cut Pro keeps track of the links between clips and media files automatically. However, there are times when you need to manually relink clips to media files: • When files are altered or re-created outside of your copy of Final Cut Pro: For example, if you send files out for color correction, you may need to relink the clips in your event to the color-corrected versions of the files when you receive them. • When media files are missing: If you move or rename externally linked files in the Finder, or if you move an event or a project to a different location, you need to relink the event or project clips (which appear as red frames with yellow alert triangles) to the files. In either case, manually relinking connects the clips in Final Cut Pro to the correct files on your Mac or storage device. You can relink either original source media files or proxy files. The relinked files must include all the media in the referenced clips and must be the same media type (for example, video or audio), have the same frame rate, and have similar audio channels. Note: You can’t undo the Relink Files command. 1. In Final Cut Pro, do one of the following: • In the browser or the timeline, select the clips you want to relink. • In the browser, select the projects containing the clips you want to relink. • In the Libraries sidebar, select an event or an entire library containing the clips you want to relink. 2. Do one of the following: • Relink original source media files: Choose File > Relink Files > Original Media. • Relink proxy files: Choose File > Relink Files > Proxy Media. The Relink Files window appears. By default, this window shows missing clips or events only. Final Cut Pro User Guide 766 3. If you want to show all items in the selection, select All. 4. Do one of the following: • Locate all the matching files: Click Locate All. • Locate some of the matching files: Select items in the list and click Locate Selected. 5. In the window that appears, navigate to one of the files you want to link to, or to the folder that contains it. Text at the bottom of the window indicates how many potential matches to items in your original list were found (based on the filenames only). Final Cut Pro User Guide 767 Note: Final Cut Pro identifies matches based on proximity in the directory structure and related filenames. For example, if your original files were in two adjacent folders, Final Cut Pro looks in folders adjacent to the folder containing the file you chose and relinks all matching files in the relative path. If your original files were named “File1,” “File2,” “File3,” and so on, and you chose to relink to a file named “File1_A,” Final Cut Pro looks for files named “File2_A,” “File3_A,” and so on to relink the remaining items in your list. 6. Click Choose. Final Cut Pro analyzes the files to confirm that all attributes (in addition to the filename) match items in the original selection. Analysis results are shown below the Original Files list (for example, “3 of 3 files matched”). 7. Click the disclosure triangle next to the analysis results to show a list, with old files on the left and new, matching files on the right. If a file was matched incorrectly, select it in the list and press Delete. The item is placed back in the original list at the top of the Relink Files window. Items with no matches remain in the original list above. To continue to locate matches, select items in the original list and repeat steps 4 through 6. 8. To link the event clips to the new media files, click Relink Files. All matched clips (including those in other projects or events) are updated to link to the new media files. Metadata in the relinked clips remains unchanged. Note: Red “Missing Proxy File” alert icons in the browser, viewer, or timeline may indicate an unrelated issue. You may need to switch the playback media mode or generate proxy media. See Control playback quality or Create optimized and proxy files. Consolidate projects and libraries in Final Cut Pro In the course of creating a project, you might use media files from a variety of locations, including your local computer and external storage devices. If the media being used in a project, event, or library is located in multiple folders or on multiple storage devices, you can consolidate all the media in one location, on one storage device. This process facilitates archiving and makes it easier for others to access the media (using shared storage, for example). The Consolidate command places the files in the current library storage location. You view and set storage locations for media, Motion content, cache files, and library backup files using the Library Properties inspector. Final Cut Pro User Guide 768 The Consolidate command follows these rules: • When you consolidate files out of a library to an external folder, the files are moved. • When you consolidate files into a library from an external folder, or from an external folder to another external folder, the files are copied. These rules prevent broken links from other libraries. Note: If the media is already external, and no other libraries are using it, you can manually delete the original media after consolidating to save storage space. Consolidate media files for a library, event, project, or clip 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Select a library. • Select one or more events. • Select an event, then select one or more projects in the browser. • Select an event, then select one or more clips in the browser. 2. Choose File > Consolidate [item] Media. 3. In the window that appears, select one or more media types (original, optimized, or proxy) and confirm the library to consolidate the files into. 4. Click OK. If you chose to include optimized or proxy media, and the optimized or proxy media isn’t available, you’re given the option to generate the media. Final Cut Pro copies the media types you selected to the current library storage location, generating optimized or proxy media in that location if needed. To view or change library storage locations, see Set storage locations. If a message appears stating that there is nothing to consolidate, it means that all of your media files are already consolidated at one location, on one storage device. Consolidate the Motion content for a library By default, when you create or customize any Final Cut Pro effects, transitions, titles, or generators in Motion, that Motion content is stored in the Motion Templates folder located in your Movies folder. You can also store that Motion content inside a library—for example, to move a project or library to another Mac, or to back up and archive your work. You use the Library Properties inspector to manage storage locations for Motion content files and consolidate them (either to the Motion Templates folder or to the library). Important: The Consolidate command described below works only on effects, transitions, titles, or generators that have been added to projects or events in the selected library. Other Motion content is not affected. 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. Choose File > Consolidate Motion Content. You can also press Command-4 to open the Library Properties inspector, then click Consolidate in the Motion Content section. Final Cut Pro User Guide 769 3. In the window that appears, confirm the storage location (either the library file or the Motion Templates folder) to consolidate the files into. If a message appears stating that there’s nothing to consolidate, it means that all of your media files are already consolidated at one location, on one storage device. 4. Click OK. The Motion content files that are in use in the library are copied into the current Motion content storage location for the library (either the library file or the Motion Templates folder). To view or change library storage locations, see Set storage locations. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Back up projects and libraries in Final Cut Pro Backing up your work and your media consistently is an essential part of your workflow. Some people back up daily or weekly; others back up when a project is complete. To protect your media, it’s recommended that you back up to a storage device or partition different from the one where you store the media files used with Final Cut Pro. Final Cut Pro provides both automatic and manual tools that let you: • Back up projects, events, and libraries manually. See Transfer a library to another Mac and Copy or move items between libraries. • Enable automatic backups of the database portion of Final Cut Pro libraries. See Restore a library and Set storage locations. • Back up projects by duplicating them as snapshots. See Duplicate projects and clips. • Collect the source media files for a library, an event, or a project in one location. You can also collect Motion content for a library in the library file or the Motion Templates folder. See Consolidate projects and libraries. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Create optimized and proxy files in Final Cut Pro Final Cut Pro can play back many media formats. For a complete list, see Supported media formats. Final Cut Pro also provides options for transcoding your media (converting it to a different format or changing its settings) to make it suitable for editing. • Create optimized media: This option transcodes video to the Apple ProRes 422 format, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed. Final Cut Pro User Guide 770 • Create proxy media: This option creates video proxy files. Video is transcoded to either the Apple ProRes 422 Proxy or H.264 format. You can create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original. Proxy files increase editing performance and take up considerably less storage space than optimized files. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files. When transcoding files, Final Cut Pro always retains the original media for future use. You can create optimized and proxy media during the import process or in the browser, after the media has been imported. You can also create a proxy file for a clip using the Info inspector. After transcoding is complete, the optimized and proxy files are stored in your Final Cut Pro library or in an external location you define. See Set storage locations. Create optimized and proxy files during import During import, Final Cut Pro either creates an alias file that points to the media file in its original location, or creates a copy of the original media file. After the files are imported, transcoding, optimization, and analysis are performed in the background. 1. In Final Cut Pro, do one of the following: • Import a file from a compatible file-based recording or storage device, or from your Mac: Connect your device to your Mac, turn on the device, and choose File > Import > Media (or press Command-I), then navigate to and select the media you want to import. • Import a file from a tape-based camcorder: Connect your device to your Mac, turn on the device and set it to VTR or VCR mode, then choose File > Import > Media. • Import from an archive: Choose File > Import > Media, select a camera archive from the list on the left, click Open Archive, then navigate to the files you want to import. See Intro to importing media. 2. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then click the pop-up menu and choose the event. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. 3. In the Files section, choose a storage option: • Copy the files to the current library: To duplicate the files and place the copies in the current library storage location, select “Copy to library.” You can set storage locations for each of your libraries. See Set storage locations. • Link to the files at their current location: Select “Leave files in place.” Note: If you select this option, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files. If you later copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. Final Cut Pro User Guide 771 4. Do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. The files are transcoded in the background, after the import process is complete. 5. Click Import Selected or Import All (the Import button changes its name based on your clip selection). The import may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Create optimized and proxy files after import 1. Do one of the following: • Control-click one or more clips in the Final Cut Pro browser or events in the Libraries sidebar, then choose Transcode Media from the shortcut menu. • Select one or more clips or projects in the browser, then choose File > Transcode Media. 2. In the window that appears, do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. 3. Click OK. The transcoding process may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Tip: MP3 audio files from projects created with versions of Final Cut Pro earlier than 10.0.4 can be manually transcoded to WAV audio files using this process. Create optimized and proxy files when importing by dragging Media you drag from the Finder into an event or the timeline is automatically organized, transcoded, and analyzed based on the import settings you specify in Final Cut Pro preferences. 1. To specify import settings, choose Final Cut Pro > Preferences, click Import, and select the import settings you want to apply to your media. See Import preferences. Final Cut Pro User Guide 772 2. To import one or more files, select a file (or Command-click multiple files) in the Finder, then drag the selection to the timeline or to an event in the Libraries sidebar. Generate a proxy file from the Info inspector You can use the Info inspector to create a proxy file for a clip or to see whether a proxy file exists for a clip. If the file you’re viewing in the Info inspector doesn’t have a proxy file, you see a red triangle. 1. Select a clip in the Final Cut Pro browser. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Final Cut Pro User Guide 773 4. Scroll down to the bottom section of the Info inspector, then click Transcode Media. 5. In the window that appears, do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. 6. Click OK. The transcoding process may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Tip: MP3 audio files from projects created with versions of Final Cut Pro earlier than 10.0.4 can be manually transcoded to WAV audio files using this process. The proxy file is created, and a green circle appears next to the proxy item in the Available Media Representations section, indicating that the proxy file for the clip is available. Delete optimized or proxy files You can delete optimized or proxy media files at any time, no matter where they’re stored. Original media files are not deleted, so you can always regenerate optimized and proxy files from the original media. 1. In Final Cut Pro, do one of the following: • Delete optimized or proxy files for one or more clips: In the browser or the timeline, select one or more clips. • Delete optimized or proxy files for one or more projects: In the browser, select one or more projects. Final Cut Pro User Guide 774 • Delete optimized or proxy files for one or more events: In the Libraries sidebar, select one or more events in the same library. • Delete optimized or proxy files for a library: Select a library in the Libraries sidebar. 2. Choose File > Delete Generated [item] Files. 3. In the window that appears, select any of the following: • Delete Optimized Media • Delete Proxy Media 4. Click OK. The selected files are deleted from your storage device. Note: Unlike other media management commands in Final Cut Pro, the Delete Generated Library Files and Delete Generated Clip Files commands affect external media as well as managed media (in the library). To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Important: If you use proxy media for playback, make sure to switch back to optimized/ original media before sharing your project. This ensures the highest quality in the exported file. See Intro to sharing projects. Create a proxy-only project in Final Cut Pro You can create proxy-only versions of your projects, events, and libraries for portability and performance. The proxy-only versions contain only proxy media files, along with file types that don’t support proxy media, such as audio, video with an alpha channel, and still images. Proxy-only projects are useful for offline editing. Video proxy files use considerably less storage space, often enough to allow you to work on a portable computer instead of a desktop computer with significantly more memory and processing power. The following instructions are for making a proxy-only version of a project, but they apply equally to making proxy-only events and proxy-only libraries. Create a proxy-only project for offline editing 1. In the Libraries sidebar in Final Cut Pro, select the event that contains your project. 2. In the browser, select the project, then choose File > Copy [item] to Library > New Library. Note: To make a proxy-only version of an event or a library, select it in the Libraries sidebar. 3. Enter a name for the new library, choose a location for it, and click Save. 4. In the window that appears, select Media in the Include section, then select the “Proxy media” checkbox. 5. In the Media Destination section, click Modify Settings and choose a storage location for the new library, then click OK. Final Cut Pro User Guide 775 Important: If a window appears with the option to generate proxy media for clips in the project, click Transcode. Final Cut Pro copies the item you selected and its proxy media to the new library’s storage location (or generates the proxy media at that location). The new library appears in the Libraries sidebar. Note: File types that don’t support proxy media (audio, video with an alpha channel, and still images) are copied to the new library’s storage location in their original format. 6. Open the project in the new library. 7. Click the View pop-up menu in the upper-right corner of the viewer, and choose either Proxy Only or Proxy Preferred in the Media Playback section. Missing File alert icons may appear in the browser, timeline, and viewer if Media Playback is set to Optimized/Original. See Control playback quality. For more information about setting the library storage location, see Set storage locations. Relink a proxy-only project to original or optimized media You can return a proxy-only project to the original library and reunite it with its original or optimized media. 1. In the Final Cut Probrowser, rename the proxy-only project (to distinguish it from the original project), then drag it to an event in the original library. See Copy or move items between libraries. 2. In the window that appears, select “Project without media” in the Include section. Note: If you added new media to the project and want the new media to be copied to the original library, select Media in the Include section, then select the “Original media” checkbox. A copy of the project appears in the event, automatically connected to the relevant original or optimized media. Manage render files in Final Cut Pro By default, rendering happens in the background in Final Cut Pro, but you can also manually start rendering for a project or a portion of a project. Render files are stored in your Final Cut Pro library or in an external location you define. See Set storage locations. Over time, render files can accumulate and take up storage space. Unused render files can also accumulate when you do any of the following: • Make changes to a project timeline • Update Final Cut Pro, macOS, or third-party plug-ins • Move a library between computers with different versions of macOS If you want to free up storage space, you can delete unused render files in selected events. You can also delete all render files for projects, events, or libraries. Original media files are not deleted, so you can always regenerate render files from the original media. Note: The Delete Generated Files commands delete render, optimized, and proxy files only. See Create optimized and proxy files. Final Cut Pro User Guide 776 Render all or part of a project In Final Cut Pro, do one of the following: • Render a portion of your project: In the timeline, select the clip or clips that you want to render, then choose Modify > Render Selection (or press Control-R). Note: The selection must be a clip selection, not a range selection. See Select one or more clips and Select a range. • Render all portions of your project that need rendering: Choose Modify > Render All (or press Control-Shift-R). Final Cut Pro renders the portions of the project that you defined and removes the corresponding dotted render indicator. You can view the progress of rendering in the Background Tasks window. Delete clip render files 1. Select one or more clips in the Final Cut Pro browser. 2. Choose File > Delete Generated Clip Files. 3. In the window that appears, select Delete Render Files and click OK. Delete project render files 1. Select one or more projects in the Final Cut Pro browser. 2. Choose File > Delete Generated Project Files. 3. In the window that appears, select Delete Render Files and click OK. Delete event render files 1. In the Libraries sidebar in Final Cut Pro, select one or more events in the same library. 2. Choose File > Delete Generated Event Files. 3. In the window that appears, select Delete Render Files. 4. Select whether to delete unused render files or all render files, then click OK. Note: If you choose to delete all render files in an event, any project render files in that event are also deleted. Delete render files from a library 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. Choose File > Delete Generated Library Files. 3. In the window that appears, select Delete Render Files. 4. Select whether to delete unused render files or all render files, then click OK. Final Cut Pro User Guide 777 View background tasks in Final Cut Pro Many Final Cut Pro tasks take place in the background: • Importing • Transcoding • Analyzing and optimizing video and audio • Rendering • Sharing • Transferring remote media • Backing up libraries Final Cut Pro manages background tasks automatically, so you don’t need to do anything to start or pause them. If you want to see the progress of any of the background processes, you can open the Background Tasks window, which shows the tasks being performed and the percentage of completion. Important: If you actively use Final Cut Pro while background tasks are running, the background tasks are paused. The tasks resume when you stop using Final Cut Pro. View tasks that are running in the background 1. In Final Cut Pro, do one of the following: • Choose Window > Background Tasks (or press Command-9). • In the toolbar, click the Background Tasks button. 2. To view the active tasks in a section, click its disclosure triangle. Pause or resume a background task • In the Background Tasks window in Final Cut Pro, click the Pause button or Resume button . Cancel a background task • In the Background Tasks window in Final Cut Pro, click the Cancel button . Final Cut Pro User Guide 778 Manage libraries Intro to managing libraries in Final Cut Pro You can work with multiple libraries in Final Cut Pro, opening and closing them as needed. You can easily copy events and projects between libraries, which makes it simple and quick to move media, metadata, and creative work to another system so that you can edit on a portable computer, collaborate with other editors, or archive your projects and media. For each library, you can set storage locations for media files, cache files, and library backups. See Set storage locations. Create a new library in Final Cut Pro You can create new, empty libraries, or you can create libraries from existing events. 1. If the Final Cut Pro Libraries sidebar isn’t already shown, do one of the following: • Click the Libraries button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). 2. Do one of the following: • Create an empty library: Choose File > New > Library, navigate to a location on your Mac or storage device where you want to save the library, enter a name, and click Save. Note: You can’t store your Final Cut Pro library on a storage device that’s used for Time Machine backups. Final Cut Pro User Guide 779 • Create a library from existing events: Select one or more events in an existing library, then choose File > Copy Events to Library > New Library, navigate to a location on your Mac or storage device where you want to save the library, enter a name, and click Save. The new library appears in the Libraries sidebar. Note: With Final Cut Pro 10.4 or later, you can save a library to a SAN (such as an Xsan storage volume) or an NFS or SMB file system volume and use it as if it were on a local storage device. A network SMB volume must originate from either a macOS server or a Linux server that has Samba 4.3.4 or later and is configured with modules for Apple compatibility. See the Apple Support article Use shared storage with Final Cut Pro. If you’re opening a library that uses media on shared storage, be sure to connect the shared storage before opening the library. Open and close libraries in Final Cut Pro You can open and close libraries in the Libraries sidebar as needed, so that you never have too many libraries open at once. Make sure to close a library before disconnecting an external storage device the library is stored on. 1. If the Final Cut Pro Libraries sidebar isn’t already shown, do one of the following: • Click the Libraries button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). 2. Do any of the following: • Open an existing library: Choose File > Open Library, then choose a library from the submenu. You can also double-click a library file in the Finder. If you’re opening a library that uses media on shared storage, be sure to connect the shared storage before opening the library. • Close a library: Select the library in the Libraries sidebar, then choose File > Close Library. Tip: To open specific libraries when you open Final Cut Pro, Option-click the Final Cut Pro app icon in the Dock, then select one or more libraries in the list and click Choose. To select more than one library, Command-click the libraries in the list. Copy or move items between libraries in Final Cut Pro You can copy or move clips, projects, or entire events between libraries in the same storage location or between libraries in different storage locations. You can also copy the contents of one library to another library. Final Cut Pro User Guide 780 Copying or moving items between libraries lets you: • Use multiple libraries on the same storage device to organize a large number of active projects and media assets. • Work on your project and media files on a different Mac that has Final Cut Pro installed. • Back up your project and its media files to a storage device, a network volume, or other storage media. • Allow multiple users to access your media in an external folder on shared storage. • Free up space on your Mac or storage device. When you copy an item from one library to another, the corresponding files are duplicated on the storage device that contains the receiving library. When you move an item from one library to another, the corresponding files are moved from the library file in the first storage location to the library file in the second location. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Copy items to another library You can copy clips, projects, events, or the contents of a library to another library. 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Select the event you want to copy. • Select the event that contains the clips or projects you want to copy. • Select the library you want to copy. 2. If you’re copying clips or projects, select them in the browser. Note: You can’t select clips and projects at the same time. 3. Do one of the following: • If the library you want to copy to is present in the Libraries sidebar: Drag the items to the library. If you’re copying an event, drag it to the library icon . If you’re copying clips and projects, drag them to a specific event icon. • If the library you want to copy to is not present in the Libraries sidebar: Do one of the following: • Choose File > Open Library and choose the library from the submenu, then follow the instructions above. • Choose File > Copy [item] to Library and choose the library from the submenu, or choose New Library to create a new library and set a location for it. 4. In the window that appears, select options for copying the items, then click OK. If you chose to include optimized or proxy media, and the optimized or proxy media isn’t available, you’re given the option to generate the media. Final Cut Pro copies the item you selected and the corresponding media to the destination library’s storage location, generating optimized or proxy media at that location if needed. Final Cut Pro User Guide 781 Move items between libraries You can move clips, projects, or events between libraries. 1. In the Libraries sidebar in Final Cut Pro, select the event you want to move, or select the event that contains the clips or projects you want to move. 2. If you’re moving clips or projects, select them in the browser. Note: You can’t select clips and projects at the same time. 3. Do one of the following: • If the library you want to move the items to is present in the Libraries sidebar: Command-drag the items to the library by first starting to drag and then holding down the Command key as you drag. If you’re copying an event, drag it to the library icon . If you’re copying clips and projects, drag them to a specific event icon. • If the library you want to move the items to is not present in the Libraries sidebar: Do one of the following: • Choose File > Open Library and choose the library from the submenu, then follow the instructions above. • Choose File > Move [item] to Library and choose the library from the submenu, or choose New Library to create a new library and set a location for it. 4. In the window that appears, select the options you want for moving the items, then click OK. Important: When you import media into Final Cut Pro, you can select the “Leave files in place” option to link to the files in their current location rather than copy them into the library. In that case, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files. When you copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. Transfer a Final Cut Pro library to another Mac You can copy a Final Cut Pro library to an external storage device to save space or to edit your project on another Mac. Note: You can’t store your Final Cut Pro library on a storage device that’s used for Time Machine backups. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the library you want to copy. 3. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 782 4. In the Media section, make sure the media storage location is set to In Library, then click Consolidate. See Set storage locations. 5. If your project contains effects, transitions, titles, and generators that were created or customized in Motion, make sure the Motion Content storage location is set to In Library, then click Consolidate. Note: As an alternative, you could manually back up and copy the Motion Templates folder located in your Movies folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it’s not managed within the Final Cut Pro library. 6. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 7. In the Finder, drag the library file to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 8. When copying is complete, eject the external storage device and disconnect it from your Mac. 9. Connect the external storage device to the new (destination) Mac. 10. Drag the library file to the folder on the new Mac where you want to store the file. 11. To open the library, double-click its icon. Set storage locations in Final Cut Pro You can set storage locations for each of your libraries. You view and define storage locations for media, Motion content, cache files, and library backup files using the Library Properties inspector. You can store these files within the library or in external folders. You can also consolidate (collect all files as managed media) inside the library for easy transport or archiving. See What are libraries? for more information about managed and external media. View and set library storage locations 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. The inspector shows the storage locations for the selected library. Final Cut Pro User Guide 783 The Storage Used for Media and Motion Content section (near the bottom of the inspector) shows a list of storage devices for the existing media and custom Motion content in the selected library, including the total amount of original, optimized, and proxy media stored on each device. (This is media that was previously imported or generated for the selected library.) 3. Click Modify Settings. A window appears with pop-up menus that you can use to set storage locations. By default, media and cache files are stored within the library, Motion content is stored in the Motion Templates folder located in your Movies folder, and backups of the library database are stored in your Movies folder. 4. Use the pop-up menus to set storage locations for the library: • Media: Choose the storage location for imported files, proxy and optimized files, and consolidated files. To store files outside the library, choose “Choose,” navigate to a storage location, then click Choose. • Motion Content: Choose the storage location for effects, transitions, titles, and generators created or customized in Motion. See Manage Motion content. • Cache: Choose the storage location for render files, analysis files, thumbnail images, and audio waveform files. To store files outside the library, choose “Choose,” navigate to a storage location, then click Choose. • Backups: Choose the storage location for library backups. To store backups outside the Movies folder, choose “Choose,” navigate to a storage location, then click Choose. If you don’t want Final Cut Pro to back up your library, choose Do Not Save. Note: By default, Final Cut Pro makes automatic library backups at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. To open a backup from a specific time and date and add it to the Libraries sidebar in Final Cut Pro, choose File > Open Library > From Backup. See Restore a library. 5. When you’re finished setting storage locations, click OK. Your new storage locations are used for future source media file imports, Motion content, cache files, and library backups. Important: Existing source media and backup files remain in their original locations. If you changed the cache storage location, you’re asked if you want to move your existing active render files to the new location. Consolidate media and Motion content files for a library 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. In the Media section of the Library Properties inspector, click Consolidate. Final Cut Pro User Guide 784 4. If you want to include optimized and proxy media, select the checkboxes in the window that appears, then click OK. Final Cut Pro copies the media into the selected library file, or into the external storage location. To view or change library storage locations, see View and set library storage locations, above. For more information about consolidating media files, see Consolidate projects and libraries. 5. If your project contains effects, transitions, titles, or generators that were created or customized in Motion, make sure the Motion Content section of the Library Properties inspector is set to either In Library or “In Motion Templates folder,” then click Consolidate. Final Cut Pro copies the media into the selected library file, or into the Motion Templates folder. To view or change library storage locations, see View and set library storage locations, above. Note: You must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Manage Motion content in Final Cut Pro By default, when you create or customize any Final Cut Pro effects, transitions, titles, or generators in Motion, that content is stored in the Motion Templates folder located in your Movies folder. You can also store Motion content inside a library—for example, to move a project or library to another Mac, or to back up and archive your work. You may also want to store Motion content in the library if you’re working on a project with others and using shared storage. If you have custom Motion content and you’re copying or moving clips, projects, or events to another library, storage device, or Mac, set the storage location for your Motion content to the library before doing so. Otherwise, the Motion content is not moved or copied with the other items, and you must manually back up and move the Motion Templates folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Set the Motion content storage location before copying or moving items to another library 1. In the Libraries sidebar in Final Cut Pro, select the destination library (the library you want to copy to). 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. Click Modify Settings at the top of the Library Properties inspector. A window appears with pop-up menus that you can use to set storage locations. Final Cut Pro User Guide 785 4. Click the Motion Content pop-up menu and choose In Library. 5. Click OK. The destination library is now ready to receive the Motion content. For information about copying or moving clips, projects, or events to another library, see Copy items to another library and Move items between libraries. Set the Motion content storage location before copying or moving a library 1. In the Libraries sidebar in Final Cut Pro, select the library you want to copy or move. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. Click Modify Settings at the top of the Library Properties inspector. A window appears with pop-up menus that you can use to set storage locations. 4. Click the Motion Content pop-up menu and choose In Library. 5. Click OK. 6. In the Motion Content section of the Library Properties inspector, click Consolidate. Note: It’s recommended that you also set the media storage location and click Consolidate in the Media section. See Set storage locations. The Motion content is now stored in the library file and is ready to be copied or moved. For information about copying or moving entire libraries, see Copy a project to another Mac. Filter Motion content stored in a library If you add custom Motion content—effects, transitions, titles, or generators—to your project and store it in the library, the items may not appear in the Final Cut Pro media browsers (the browser, the Effects browser, and the Transitions browser). By default, the media browsers are set to show the effects, transitions, titles, and generators that came with Final Cut Pro, and any custom Motion content that is stored in the Motion Templates folder located in your Movies folder. However, you can use the Filter pop-up menu to show Motion content stored in a particular library. 1. In Final Cut Pro, do one of the following: • Filter titles and generators: To show titles and generators in the browser, click the Titles and Generators button in the top-left corner of the Final Cut Pro window, or choose Window > Go To > Titles and Generators (or press Option-Command-1). Final Cut Pro User Guide 786 • Filter effects: To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). • Filter transitions: To open the Transitions browser, click the Transitions button in the top-right corner of the timeline (or press Control-Command-5). 2. Click the Filter pop-up menu at the top of the media browser for the type of Motion content you want to view, then choose an option: • Installed [items]: View content that came with Final Cut Pro, and any Motion content that is stored in the Motion Templates folder located in your Movies folder. This is the default setting. • [Library name]: Choose any open library to view the custom Motion content stored in that library. Create camera archives in Final Cut Pro You can make a camera archive (backup copy) of the contents of your camera or camcorder. (You can’t make an archive from a live video signal, such as the signal produced by an iSight camera.) Because you can import media into Final Cut Pro from an archive, archiving the media on your device can be useful if you want to: • Quickly empty the contents of your camera or camcorder so that you can record more media right away, rather than wait for it to be imported into Final Cut Pro. • Import the archived media on multiple computers without having to keep it on the camcorder • Keep a browsable, “near-line” archive of media from a camera without having to import the media into Final Cut Pro Final Cut Pro User Guide 787 For information about importing media into Final Cut Pro from a camera archive, see Import from an archive or disk image. Archive the media on your file-based camera or camcorder 1. If you want to save the archive to an external storage device, connect it to your Mac. 2. Connect the camera or camcorder to your Mac using the cable that came with the device, and turn on the device. See Memory cards and cables. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player app to open. If that happens, simply close DVD Player. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. Select your device in the list of cameras on the left side of the Media Import window. 5. Click the Create Archive button at the bottom-left corner of the window. 6. In the “Create Camera Archive as” field, type a name for the archive. Final Cut Pro User Guide 788 7. Click the Destination pop-up menu and choose a location to save the archive, then click OK. Note: It’s a good idea to save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. The camera archive is stored at the location you chose. You can mount the archive as if it were a file-based camcorder and browse the archive’s contents, or you can import the media on the camera archive into Final Cut Pro. Archive the media on your tape-based camera or camcorder 1. If you want to save the archive to an external storage device, connect it to your Mac. 2. Connect the camera or camcorder to your Mac using the cable that came with the device, and turn on the device. See Memory cards and cables. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. Select your device in the list of cameras on the left side of the Media Import window. 5. Click the Create Archive button at the bottom-left corner of the window. 6. In the “Create Camera Archive as” field, type a name for the archive. Final Cut Pro User Guide 789 7. Click the Destination pop-up menu and choose a location to save the archive, then click OK. Note: To protect your media, it’s a good idea to save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. Final Cut Pro begins archiving from the current location on the tape. Archiving continues until one of the following occurs: • The end of the tape is reached. • You stop the archiving process by clicking Stop Import or Close (to close the Media Import window). The camera archive is stored at the location you chose. You can mount the archive as if it were a file-based camcorder and browse the archive’s contents, or you can import the media on the camera archive into Final Cut Pro. Move or copy a camera archive 1. In the Finder, select the camera archive that you want to move or copy. 2. Do one of the following: • Move the camera archive on your local disk: Drag the camera archive to a new location. • Copy the camera archive on your local disk: Hold down the Option key and drag the camera archive to a new location on your local disk. • Copy the camera archive to an external storage device: Drag the camera archive to a location on the external storage device. Delete a camera archive Camera archives are very small relative to other media files, and often don’t warrant being deleted. However, you can delete a camera archive at any time. 1. Control-click the camera archive in the Finder, then choose Move to Trash. 2. Control-click the Trash icon in the Dock, then choose Empty Trash. Important: Emptying the Trash permanently deletes the camera archive. Common media management issues Alert icons in Final Cut Pro When you see red frames and a yellow alert triangle in the timeline or an event, it means that part of your project or event is missing. There are many reasons that clips, events, media files, and effects can be missing—for example, moving projects, events, and files between computers or actively managing your media using the Finder. Final Cut Pro User Guide 790 Final Cut Pro events and clips Icon Alert Description Missing Clip A clip used in a Final Cut Pro project or event is not available. You may see this alert if you moved the clip to the Trash, moved a clip (or an event), moved a project to a different location, or consolidated a different project’s media. Missing Camera A camera that contains files used in Final Cut Pro is not connected to your system. To avoid getting this alert, create a copy of the media when you import it. See Organize files during import. Media files Icon Alert Description Missing File A file is not available in the Finder. You may see this alert if you moved or renamed a file in the Finder, moved an event or a project to a different location, or consolidated a different project’s media. Modified File A media file has been changed by an app other than Final Cut Pro. Missing Proxy File A proxy file created by Final Cut Pro is not in its expected location in the Finder. See Create optimized and proxy files. Missing Remote Media Some remote media was not downloaded completely. There may be connection issues with the local or remote network, permissions may have expired, or files may no longer exist on the server. Downloading Remote Media Some remote media is being downloaded. Missing Plug-in A plug-in is missing. Some media file formats require that you download and install an additional software plug-in. You may see this alert if the plug-in is not installed correctly. Final Cut Pro User Guide 791 Final Cut Pro effects Icon Alert Description Missing Effect An effect in Final Cut Pro is missing. Missing Generator A generator in Final Cut Pro is missing. Missing Title A title in Final Cut Pro is missing. Missing Transition A transition in Final Cut Pro is missing. Missing LUT A LUT in Final Cut Pro is missing. See Apply LUTs. Solutions to media management issues in Final Cut Pro This section describes common media management issues and solutions. If you can’t relink clips to media files transcoded in Compressor If media files that you transcoded in Compressor are not automatically matched and relinked in Final Cut Pro, it may be because of how the files were named. For example, if you use Compressor to batch transcode proxy files from a set of source media files, the setting name is appended to the end of the filename as a suffix. You can change the filename that Compressor assigns at any time. See “Set a custom location’s filename format” in Work with locations in Compressor. During the relinking process, Final Cut Pro looks for matches between the source filename and the output filename. The source and output filenames can have nonmatching suffixes as long as each suffix is preceded by an underscore (_) or hyphen (-). Using other characters or symbols before a suffix will prevent automatic matching to the original clips in your Final Cut Pro library. Note: You can still manually relink clips to compatible files with any filename, by selecting a clip in the Relink Files window, clicking Locate Selected, and navigating to the files one at a time. See Relink clips to media files. Final Cut Pro User Guide 792 To ensure automatic matching and relinking, follow these filenaming guidelines: • Use the underscore (_) or hyphen (-) character before a filename suffix. • Don’t precede a filename suffix with other characters such as the plus sign (+), slash (/), or backslash (\). For examples, see the table below. Source filename Output filename Result A.mov A+suffix.mov Will not match because of the plus sign (+). A_B.mov A_suffix.mov Will match, because “_B” is a valid suffix. A-B.mov A_B.mov Will match, because both “-B” and “_B” are valid suffixes. A_B.mov A_B_suffix.mov Will match, because Final Cut Pro compares the output filename without the suffix against the source filename. A_B_C.mov A_B_C_suffix.mov Will match, because Final Cut Pro compares the output filename without the suffix against the source filename. Note: When two or more matching files exist in a folder, Final Cut Pro does not automatically relink to either one of them. If you see an alert indicating that a file is missing You may see a Missing File alert if you move or rename a file in the Finder. 1. In the Finder, change the filename back to the filename used in the Final Cut Pro browser. 2. Quit and reopen Final Cut Pro. The file is relinked to the clip when Final Cut Pro opens. Final Cut Pro User Guide 793 If a clip was not imported correctly If you canceled an import and didn’t import an entire clip, the clip has a camera icon on its bottom-left corner. • Follow the instructions in Reimport a clip. If your DSLR camera isn’t recognized by Final Cut Pro • Follow the instructions in Import from digital still cameras. Final Cut Pro User Guide 794 Work smarter Final Cut Pro preferences Intro to Final Cut Pro preferences In Final Cut Pro, you can modify preference settings to specify how your source media is imported into the app, how your clips play back, and how you edit your clips in the timeline. For details about preference settings, see the following topics: • General preferences • Editing preferences • Playback preferences • Import preferences • Intro to Destinations preferences Change Final Cut Pro preference settings A preference modifies how a particular Final Cut Pro feature behaves. Most preference settings can be turned on or off at any time. The following topics describe Final Cut Pro preferences in detail. Open Final Cut Pro preferences • Choose Final Cut Pro > Preferences (or press Command-Comma), then click a button at the top of the window to open a preference pane. Final Cut Pro User Guide 795 Copy Final Cut Pro preferences between computers You can copy Final Cut Pro preference settings to another Mac that has Final Cut Pro installed so that the settings are the same on both computers. 1. Find the Final Cut Pro preference settings file in the following location: /Users/username/Library/Preferences/com.apple.FinalCut.plist 2. Copy the preference settings file to the same location on the other Mac. If necessary, overwrite any existing version of the file at that location. Reset Final Cut Pro preferences You can reset Final Cut Pro preferences to their original settings. • Press Option-Command while opening Final Cut Pro. General preferences in Final Cut Pro General preferences are basic settings in Final Cut Pro. Time Display • Time Display: Use this pop-up menu to choose the time mode for Final Cut Pro. Changes to this setting affect the timecode display below the viewer (for the position of the skimmer or the playhead), as well as trimming and navigation operations in Final Cut Pro. You have the following options: • Timecode display • Timecode display including subframes • Duration in frames • Duration in seconds Dialog warnings • Reset All: Click this button to reset all warning dialogs that you dismissed by selecting the “Do not remind me again” checkbox. Final Cut Pro User Guide 796 Audio Units • Validate on Next Launch: If you encounter issues with third-party Audio Units effects, click this button to have Final Cut Pro validate all installed third-party Audio Units effects the next time you open the app. Final Cut Pro performs a series of tests to verify that each Audio Units effect is operating correctly, and notifies you of any Audio Units effects that fail. Validation is performed automatically the first time Final Cut Pro is opened and whenever Audio Units effects are installed or reinstalled, so you don’t normally need to click this button. Color Correction • Color Correction: Use this pop-up menu to choose the default color correction effect. The controls for the default color correction effect appear when you open the Color inspector. You can choose the following color correction effects: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves Inspector Units • Inspector Units: Use this pop-up menu to choose how values are displayed in inspector controls for the Transform, Crop, and Distort effects. • Pixels: Choose this setting to display values as pixels. • Percentages: Choose this setting to display values as percentages. Editing preferences in Final Cut Pro Editing preferences affect editing behaviors in Final Cut Pro. Timeline • Show detailed trimming feedback: Select this checkbox to show the “two-up” display in the viewer for more accurate feedback on an edit point involving two adjacent clips. For example, for a simple ripple or roll edit, this display shows the end point of the left clip and the start point of the right clip. Final Cut Pro User Guide 797 • Position playhead after edit operation: Select this checkbox to have the playhead automatically positioned in the timeline at the end of your last edit. For example, if you insert a clip between two clips in the timeline, the playhead is automatically positioned between the inserted clip and the clip that follows it. Audio • Show reference waveforms: Select this checkbox to change the background appearance of the audio portion of a clip to show reference waveforms. A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness, reference waveforms let you see the shape of the sound more clearly. When the actual waveform changes shape (for example, it’s diminished when a clip’s volume level is low), you can continue to see its reference waveform in full for easy reference when editing. Durations • Audio Fade: Use this value slider to set the default duration, in seconds, for audio fades created using the Apply Fades command (choose Modify > Adjust Audio Fades > Apply Fades). • Crossfade: Use this value slider to set the default duration, in seconds, for audio crossfades. • Still Image: Use this value slider to set the default editing duration, in seconds, for still-image and freeze-frame clips. • Transition: Use this value slider to set the default duration, in seconds, for video transitions. Playback preferences in Final Cut Pro Playback preferences affect playback and rendering performance in Final Cut Pro. Note: For information about controlling playback quality and performance, including switching between original or optimized media and proxy media, see Control playback quality. Final Cut Pro User Guide 798 Rendering • Background render: Select this checkbox to turn on Final Cut Pro rendering operations when the system is idle. • Start after x seconds: Use this value slider to set the amount of time your system is idle, in seconds, before Final Cut Pro begins background rendering. Render/Share GPU • Render/Share GPU: Use this pop-up menu to choose which graphics processing unit (GPU) to use in Final Cut Pro when rendering or sharing. This choice affects only rendering and sharing; real-time effects use the default GPU. Playback • Create optimized media for multicam clips: Select this checkbox to automatically transcode multicam clip video to the Apple ProRes 422 codec, which provides better performance during editing and faster render times. • If a frame drops, stop playback and warn: Select this checkbox to have Final Cut Pro warn you when frames are dropped during playback. • If frames drop due to disk performance, warn after playback: Select this checkbox to have Final Cut Pro warn you if frames were dropped because of disk performance. • If frames drop on VR headset, warn after playback: Select this checkbox to have Final Cut Pro warn you if frames were dropped on a connected VR headset display. Pre-Roll Duration • Pre-Roll Duration: Use this value slider to set the amount of time to play before an audition or before the skimmer or playhead position when using the Play Around command. Post-Roll Duration • Post-Roll Duration: Use this value slider to set the amount of time to play after an audition or after the skimmer or playhead position when using the Play Around command. Player Background • Player Background: Use this pop-up menu to choose a background for the viewer. The color you choose will be visible in the case of partially or completely transparent clips, or clips that don’t fill the frame completely. A/V Output • A/V Output: Use this pop-up menu to choose an external audio/video device or monitor for output. See Play media on an external display. Final Cut Pro User Guide 799 • Show HDR as Tone Mapped: Select this checkbox to compress bright image content and reduce the apparent dynamic range of the video to fit the viewable range of the external video device. This checkbox is available only for external displays connected using an HDMI or Thunderbolt 3 cable on systems with macOS Catalina 10.15 or later. This option is disabled if a connected Pro Display XDR is set to a reference mode preset in Displays preferences, such as the HDR Video preset. Import preferences in Final Cut Pro When you import media into Final Cut Pro using the Media Import window, you can customize your import settings each time you import files. However, if you drag media directly into Final Cut Pro from the Finder, Final Cut Pro uses the import settings you selected in the Import pane of the Final Cut Pro Preferences window. Files Choose a storage location for the media files: • Copy to library storage location: This option duplicates the media files and places the copies in the current library storage location. You can set storage locations for each of your libraries. See Set storage locations. • Leave files in place: If you import files with this option selected, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files without copying them. When you move, copy, or back up events and projects that use these files, only the symbolic links are copied or moved, not the source media files. If, after you move or copy your project or event, you want to replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. See Media files and clips. Final Cut Pro User Guide 800 Keywords • From Finder tags: Creates a Keyword Collection for each Finder tag assigned to the files you’re importing. If the files you’re importing have tags, select this option to keep the tag organization that exists in the Finder. For more information about Finder tags, see macOS Help (available from the Help menu when the Finder is active). Note: For REDCODE RAW files only, Keyword Collections are based on tags assigned to the enclosing folder. • From folders: Creates a Keyword Collection for each folder in the files you’re importing. Select this option to preserve the file organization that exists in the Finder. (Although Keyword Collections don’t appear in a hierarchy in the Libraries sidebar, every file in a folder is assigned a keyword for each folder it’s in, whether it’s one, two, or more levels deep in that folder.) Analyze Video • Balance color: Analyzes video clips and detects color cast and contrast issues. Color is automatically balanced when you drag the clip to the timeline. You can fix color balance for a clip in an event by turning on Balance in the Color section of the Video inspector. You can turn off the automatic color adjustments at any time to display the colors that were originally recorded. • Find people: Analyzes clips with video for the presence of people and shot types. After analysis, any of the following keywords are added to the clip: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. The “Consolidate find people results” checkbox simplifies and summarizes all of the “find people” analysis keywords. See Video analysis options. If you’re analyzing to find people, it’s recommended that you also select the Create Smart Collection checkbox. • Create Smart Collection: Creates Smart Collections for each keyword applied when video clips are analyzed for image stabilization problems or the presence of people. The Smart Collections appear in a folder inside the event. Transcode • Create optimized media: This option transcodes video to the Apple ProRes 422 codec, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed. • Create proxy media: This option transcodes video to high-quality files useful for offline editing. Video proxy files can use considerably less storage space, often enough to allow you to work on a portable computer instead of a desktop computer with significantly more memory and processing power. • Codec: This option allows you to select a codec for your proxy media: Apple ProRes 422 Proxy or H.264. • ProRes Proxy: Creates higher-quality Apple ProRes 422 Proxy files. This option is required for HDR and ProRes RAW source media. • H.264: Creates smaller proxy file sizes. This option is appropriate for SDR projects and source media. Final Cut Pro User Guide 801 • Frame Size: This pop-up menu allows you to choose a frame size for the transcoded media (either as a percentage of the original or as maximum pixel dimensions). • To specify a percentage of the source media frame size, you can choose Same as Source (100%), 50%, 25%, or 12.5%. • To specify maximum pixel dimensions, you can choose 3840 x 2160, 1920 x 1080, or 960 x 540. Final Cut Pro maintains the source media aspect ratio without exceeding these dimensions. See Create optimized and proxy files. Note: To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Analyze Audio • Fix audio problems: Analyzes audio and automatically corrects it for hum, noise, and loudness. You can turn off automatic audio corrections at any time; after you do so, the audio plays as originally recorded. • Separate mono and group stereo audio: Analyzes audio channels and groups them as dual mono or stereo, depending on the results of the analysis. • Remove silent channels: Audio channels are analyzed, and silent channels are removed. Note: You can retrieve the original audio configuration after import. See Configure audio channels. Assign Audio Role • Assign Audio Role: This pop-up menu allows you to override the automatic role assignment process during import so that every imported clip is assigned to a role of your choosing. You can specify one of the three default audio roles or a custom role that you create yourself. See Override automatic role assignment for audio files during import. If the “Assign iXML track names if available” checkbox is selected, Final Cut Pro detects iXML metadata tags in an audio channel and creates and assigns roles to the corresponding audio components in the imported clips, based on the iXML names. See Create custom roles automatically during import using iXML metadata. Destinations preferences Intro to Destinations preferences in Final Cut Pro You modify share destinations in the Destinations pane of the Final Cut Pro Preferences window. The destinations in the Destinations list (on the left side of the Destinations pane) also appear in the Share submenu of the File menu and in the menu that appears when you click the Share button in the toolbar. Final Cut Pro User Guide 802 When you first open Final Cut Pro, a default set of destinations appears in the Destinations list, but you can add other destinations and customize destinations. To see the destinations you can add, select Add Destination in the Destinations list. When you select a destination in the Destinations list, its settings appear on the right. The settings available for each destination are described in the following topics. For information about adding and modifying destinations, see Create share destinations. DVD and Blu-ray / AVCHD destinations in Final Cut Pro Use these destinations to burn your project or clip to a standard-definition (SD) DVD, a Blu-ray-compatible disc, or an AVCHD-compatible disc. You can also create a disk image (.img) file that you can copy to an external drive or burn to a disc later. Note: The Blu-ray / AVCHD destination does not appear by default. To add it to the Destinations list, see Create share destinations. The DVD and Blu-ray / AVCHD destinations include the following settings: • Output Device: Displays your system’s suitable output devices, including optical drives and the computer’s internal disk. You can use your computer’s internal disk to create a disk image (.img) file that you can copy to an external drive or burn to DVD media later. • Layers: Displays the available layers on the destination media. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Depending on the project’s length, choosing Double-layer when using a single-layer disc may result in an error while burning the disc. Final Cut Pro User Guide 803 • Build type: The DVD destination builds a VIDEO_TS folder; the Blu-ray / AVCHD destination builds a BDMV folder. These folders contain files correctly formatted for the type of disc selected. Use this pop-up menu to choose how you want to save that data: • Disc: Available when Output Device is set to a compatible device, burns the folder to a disc. • File: Available when Output Device is set to Hard Drive, embeds the folder into a disk image file that is formatted correctly to be burned to a disc later. • Folder: Available when Output Device is set to Hard Drive, leaves the folder as is; the media can then be played or later burned to a disc. • Disc template: Displays the available disc templates. • Title: Type the disc title in the text field. This title will be displayed on the disc menus. • Volume name: Type the name that will appear when the disc is mounted on a computer. Only uppercase characters and certain punctuation marks are permitted in the name. Volume names are typically limited to 30 characters. • Color Space: Indicates the color space of the output media file. • When disc loads: Displays the automatic action taken when you play the disc. • Show Menu: Displays the main menu. • Play Movie: Begins playing the movie immediately. • Markers: Not available for Blu-ray when using an AVCHD output device. Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the DVD or Blu-ray player. See Add chapter markers. • Loop: Select this checkbox to add a Loop Movie button to the disc main menu. This gives users the option to play the movie in a continuous loop. • Background: Click the Add button to select a graphic for the disc’s background. This image will be used instead of the template background. • Logo image: Click the Add button to select a logo graphic that will be displayed in the upper-right corner of the disc menus. This image will appear on top of the menu background. • Title image: Click the Add button to select a title graphic that will be displayed in the center of the main menu of the disc. This image will appear on top of the menu background. • Preview: Shows a thumbnail preview of the main menu. • Include captions: If you added CEA-608 captions to your project, you can choose a language version to include on the DVD. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Final Cut Pro User Guide 804 Email destination in Final Cut Pro Use this destination to email your project or clip using Mail, Apple’s email app. The Email destination automatically creates an email message that includes the exported file. Note: The Email destination does not appear by default. To add it to the Destinations list, see Create share destinations. The Email destination includes the following settings: • Resolution: Click the pop-up menu and choose a resolution. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. YouTube & Facebook destination in Final Cut Pro Use this destination to save a project or clip as a file that is ready for posting on videosharing websites. The YouTube & Facebook destination includes the following settings: • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. • Export captions: If you added captions to your project, you can choose a language version to include with the video, either as embedded captions or as a separate sidecar file. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a language version to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Still-image destinations in Final Cut Pro Use these destinations to save a still image of any video frame in your project or to save a set of sequentially numbered still-image files. Note: The Save Current Frame and Image Sequence destinations do not appear by default. To add either of them to the Destinations list, see Create share destinations. The Save Current Frame and Image Sequence destinations include the following settings: • Export: Choose a file type for the exported file. • Scale image to preserve aspect ratio: Select this checkbox to scale the output file to use square pixels and maintain the original aspect ratio (which results in an increase or decrease in the number of horizontal and vertical pixels). The checkbox affects only projects with formats that use non-square pixels, such as NTSC and PAL formats. If the checkbox is not selected (the default setting), the output file uses the same pixel aspect ratio and has the same number of horizontal and vertical pixels as the original video. Final Cut Pro User Guide 805 • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Export File and Apple Devices destinations in Final Cut Pro Use these destinations to export files for Apple devices, computers, and web hosting. You can export your project or clip as a movie file with video and audio, as a video file (with no audio), or as an audio file (with no video). You can customize these destinations by choosing one of several resolutions, depending on the intended playback device. You can also export one or more of the roles used in your project as one or more files, also known as media stems. If your project includes captions, you can export language versions (subroles) as embedded captions or as separate caption files. The Export File and Apple Devices destinations include the following settings: • Format: Lists mastering formats (Video and Audio, Video Only, Audio Only) and publishing formats, including Apple Devices (such as iPhone and iPad), Computer (for playback on Mac and PC), and Web Hosting (such as YouTube or Vimeo). Your choice of format determines the options in the pop-up menus below. Important: When sharing a project or clip, you can change the resolution only for publishing formats. • Video Codec: Choose a codec to use for the exported file. (Available choices are based on the source clip or project media format.) • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. See Modify a project’s settings. • Color Space: The color space for the destination is determined by the project settings and the destination video codec. See Modify a project’s settings. • Audio Format: If you chose Audio Only from the Format pop-up menu, choose an audio format for the exported file. If you chose another option from the Format pop-up menu, this item lists the audio format that will be used for the exported file. • Include chapter markers: Select the checkbox to include chapter markers that were added to the project in the output file. Users can navigate between the chapter markers by clicking the Next Chapter or Previous Chapter button in QuickTime Player and other apps. • Action: Choose what should happen when the export is complete. You can choose to open the exported file in an app or add it to your media library. • Save only: Choose this option if you don’t want to automatically open the exported file. • Open with QuickTime Player (or another app): Choose this option to open the exported file in the default app associated with the file. You can set or change the default app in the Finder. See macOS Help, available from the Help menu when the Finder is active. Final Cut Pro User Guide 806 • Open with Compressor: Choose this option to open the exported file in Compressor. The exported file will appear as the source in a new batch, making it easy to continue to process the project’s movie. For example, you can create the compressed versions needed for distribution, without involving Final Cut Pro. Note: This option is available only if Compressor is installed on the same computer as Final Cut Pro. • Other: Choose this option to specify another app to open the exported file. Select the app in the window that appears, then click Open. • Home Videos: Choose this option in the “Add to TV” section to add the exported file to the Home Videos category in the Apple TV app. (If you’re using macOS 10.14 or earlier, this section is labeled “Add to iTunes.”) Compressor Settings destination in Final Cut Pro Use this destination to export a project or clip using settings from Compressor, the professional transcoding app designed to work directly with Final Cut Pro. Note: The Compressor Settings destination does not appear by default. To add it to the Destinations list, see Create share destinations. Exporting a project with a Compressor setting provides many of the benefits of Compressor without requiring you to open your project in Compressor. You can use Compressor to create multiple output files in one share operation, or create custom settings that modify your output file (for example, to add a watermark to the video). If you have Compressor installed on your system, you can use any of your Compressor settings with Final Cut Pro. If you don’t have Compressor installed on your system and you receive a Compressor setting from someone else, put the setting in this location so that Final Cut Pro and Compressor can access it: /Users/username/Library/Application Support/Compressor/Settings/ You may need to create the Compressor and Settings folders using the Finder. Tip: In Mac OS X 10.7 and later, the Library folder within your home folder is hidden by default. To access it in the Finder, hold down Option and choose Go > Library. See macOS Help, available from the Help menu when the Finder is active. HTTP Live Streaming destination in Final Cut Pro Use this destination to send audio and video to iPhone, iPad, iPod touch, and Mac using a web server. Note: The HTTP Live Streaming destination does not appear by default. To add it to the Destinations list, see Create share destinations. Because HTTP live streaming dynamically adjusts movie playback quality to match the available speed of wired or wireless networks, it’s a great way to deliver streaming media to your iOS-based app or HTML5-based website. For detailed information about implementing HTTP live streaming, visit the Apple Developer HTTP Live Streaming website. Final Cut Pro User Guide 807 The HTTP Live Streaming destination includes the following settings: • File Type: Select a file type for the exported file. You can select MPEG-2 Transport Streams or Fragmented MP4. • Versions to export: Select the checkbox for each type of network connection you want to support for streaming. You can export files for use with devices that use cellular, Wi-Fi, and broadband data connections. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Bundle destination in Final Cut Pro You can group sets of destinations together in a bundle to create several types of output in a single step. When you share a project or clip using the bundle, a file for each destination in the bundle is output automatically. To learn how to create a bundle, see Create share destinations. Keyboard shortcuts and gestures Intro to shortcuts and gestures in Final Cut Pro Final Cut Pro provides several ways to increase your efficiency while you put together your project: • Standard keyboard shortcuts: Many common tasks, such as opening a specific window or adding a clip from the browser to the timeline, can be accomplished very quickly by pressing one or more keys. See Keyboard shortcuts. • Multi-Touch gestures: If you have a Multi-Touch trackpad or mouse, you can take advantage of Multi-Touch gestures to quickly perform many tasks while creating your project. See Multi-Touch trackpad gestures. • Touch Bar: If your MacBook Pro has a Touch Bar, you can use familiar gestures like swipe and tap to quickly perform tasks such as scrubbing the timeline, applying an audio fade, selecting tools, or editing text. The contents of the Touch Bar are dynamic— the controls change depending on your current selection within Final Cut Pro and other apps. Related buttons and sliders appear together in groups in the bar. See Touch Bar shortcuts. • Custom keyboard shortcuts: You can add to the standard keyboard shortcuts by creating your own custom keyboard shortcuts for features that you use frequently, such as Color Board controls. Or if you’re more familiar with keyboard shortcuts from another app, you can use the Command Editor to substitute those keyboard shortcuts in place of the default set in Final Cut Pro. See View keyboard shortcuts. Final Cut Pro User Guide 808 Keyboard shortcuts in Final Cut Pro You can use keyboard shortcuts to quickly accomplish many tasks in Final Cut Pro. To use a keyboard shortcut, press all the keys in the shortcut at the same time. Shortcuts for common commands are listed in the table below. For information about viewing, creating, and managing shortcuts, see Intro to the Command Editor. Application Action Command Shortcut Hide Final Cut Pro Hide Application Command-H Hide all applications except Final Cut Pro Hide Other Applications Option-Command-H Open the Command Editor Keyboard Customization Option-Command-K Minimize Final Cut Pro Minimize Command-M Open an existing library or a new library Open Library Command-O Open the Final Cut Pro Preferences window Preferences Command-Comma (,) Quit Final Cut Pro Quit Command-Q Redo the last command Redo Change Shift-Command-Z Undo the last command Undo Change Command-Z Editing Action Command Shortcut Adjust the audio volume across all selected clips to a specific dB value Adjust Volume Absolute Control-Option-L Adjust the audio volume across all selected clips by the same dB value Adjust Volume Relative Control-L Add the selection to the end of the storyline Append to Storyline E Add the selected clip to the audition Audition: Add to Audition Control-Shift-Y Create an audition with a timeline clip and a duplicate version of the clip, including applied effects Audition: Duplicate as Audition Option-Y Duplicate the selected audition clip without applied effects Audition: Duplicate from Original Shift-Command-Y Create an audition and replace the timeline clip with the current selection Audition: Replace and Add to Audition Shift-Y Final Cut Pro User Guide 809 Action Command Shortcut Cut the primary storyline clip (or the selection) at the skimmer or playhead location Blade Command-B Cut all clips at the skimmer or playhead location Blade All Shift-Command-B Break the selected item into its component parts Break Apart Clip Items Shift-Command-G Change the duration of the selection Change Duration Control-D Connect the default lower third to the primary storyline Connect Default Lower Third Control-Shift-T Connect the default title to the primary storyline Connect Default Title Control-T Connect the selection to the primary storyline Connect to Primary Storyline Q Connect the selection to the primary storyline, aligning the selection’s end point with the skimmer or playhead Connect to Primary Storyline - Backtimed Shift-Q Copy the selection Copy Command-C Create an audition from the selection Create Audition Command-Y Create a storyline from a selection of connected clips Create Storyline Command-G Cut the selection Cut Command-X Cut and switch the multicam clip to angle 1 of the current bank Cut and Switch to Viewer Angle 1 1 Cut and switch the multicam clip to angle 2 of the current bank Cut and Switch to Viewer Angle 2 2 Cut and switch the multicam clip to angle 3 of the current bank Cut and Switch to Viewer Angle 3 3 Cut and switch the multicam clip to angle 4 of the current bank Cut and Switch to Viewer Angle 4 4 Cut and switch the multicam clip to angle 5 of the current bank Cut and Switch to Viewer Angle 5 5 Cut and switch the multicam clip to angle 6 of the current bank Cut and Switch to Viewer Angle 6 6 Cut and switch the multicam clip to angle 7 of the current bank Cut and Switch to Viewer Angle 7 7 Cut and switch the multicam clip to angle 8 of the current bank Cut and Switch to Viewer Angle 8 8 Cut and switch the multicam clip to angle 9 of the current bank Cut and Switch to Viewer Angle 9 9 Final Cut Pro User Guide 810 Action Command Shortcut Delete the timeline selection, reject the browser selection, or remove a through edit Delete Delete Delete the selection and attach the connected clip or clips to the resulting gap clip Delete Selection Only Option-Command-Delete Deselect all selected items Deselect All Shift-Command-A Duplicate the browser selection Duplicate Command-D Enable or disable playback for the selection Enable/Disable Clip V View audio and video separately for selected clips Expand Audio Control-S Expand or collapse audio components for the selection in the timeline Expand/Collapse Audio Components Control-Option-S Extend the selected edit point to the skimmer or playhead position Extend Edit Shift-X In the browser list view, add the next item to the selection Extend Selection Down Shift-Down Arrow In the timeline, add the next item to the selection Extend Selection to Next Clip Control-Command-Right-Arrow In the browser list view, add the previous item to the selection Extend Selection Up Shift-Up Arrow Dissolve the audition and replace it with the audition pick Finalize Audition Option-Shift-Y Insert the selection at the skimmer or playhead position Insert W Insert a freeze frame at the playhead or skimmer location in the timeline, or connect a freeze frame from the skimmer or playhead location in the event to the playhead location in the timeline Insert/Connect Freeze Frame Option-F Insert a gap clip at the skimmer or playhead position Insert Gap Option-W Insert the default generator at the skimmer or playhead position Insert Default Generator Option-Command-W Lift the selection from the storyline and connect it to the resulting gap clips Lift from Storyline Option-Command-Up Arrow Lower the audio volume by 1 dB Lower Volume 1 dB Control-Hyphen (-) Move the playhead by entering a timecode value Move Playhead Position Control-P Final Cut Pro User Guide 811 Action Command Shortcut Create a new compound clip (if there’s no selection, create an empty compound clip) New Compound Clip Option-G Nudge the selected audio edit point left by one subframe, creating a split edit Nudge Audio Subframe Left Option-Comma (,) Nudge the selected audio edit point left by 10 subframes, creating a split edit Nudge Audio Subframe Left Many Option-Shift-Comma (,) Nudge the selected audio edit point right by one subframe, creating a split edit Nudge Audio Subframe Right Option-Period (.) Nudge the selected audio edit point right by 10 subframes, creating a split edit Nudge Audio Subframe Right Many Option-Shift-Period (.) Nudge down the value of the selected keyframe in the animation editor Nudge Down Option-Down Arrow Nudge the selection one unit to the left Nudge Left Comma (,) Nudge the selection 10 units to the left Nudge Left Many Shift-Comma (,) Nudge the selection one unit to the right Nudge Right Period (.) Nudge the selection 10 units to the right Nudge Right Many Shift-Period (.) Nudge up the value of the selected keyframe in the animation editor Nudge Up Option-Up Arrow Open the selected audition Open Audition Y Temporarily override clip connections for the selection Override Connections Grave Accent (`) Overwrite at the skimmer or playhead position Overwrite D Overwrite from the skimmer or playhead position back Overwrite - Backtimed Shift-D Overwrite at the skimmer or playhead position in the primary storyline Overwrite to Primary Storyline Option-Command-Down Arrow Paste the selection and connect it to the primary storyline Paste as Connected Option-V Insert the Clipboard contents at the skimmer or playhead position Paste Insert at Playhead Command-V Switch to the previous angle in the multicam clip Previous Angle Control-Shift-Left Arrow Final Cut Pro User Guide 812 Action Command Shortcut Switch to the previous audio angle in the multicam clip Previous Audio Angle Option-Shift-Left Arrow Select the previous clip in the Audition window, making it the audition pick Previous Pick Control-Left Arrow Switch to the previous video angle in the multicam clip Previous Video Angle Shift-Command-Left Arrow Raise the audio volume by 1 dB Raise Volume 1 dB Control-Equal Sign (=) Replace the selected clip in the timeline with the browser selection Replace Shift-R Replace the selected clip in the timeline with the browser selection, starting from its start point Replace from Start Option-R Replace the selected timeline clip with a gap clip Replace with Gap Shift-Delete Select all clips Select All Command-A Select the clip under the pointer in the timeline Select Clip C Select the clip above the current timeline selection at the skimmer or playhead location Select Clip Above Command-Up Arrow Select the clip below the current timeline selection at the skimmer or playhead location Select Clip Below Command-Down Arrow For audio/video clips in expanded view, select the left edge of the audio edit point Select Left Audio Edge Shift-Left Bracket ([) Select the left edge of the edit point Select Left Edge Left Bracket ([) For audio/video clips in expanded view, select the left and right edges of the audio edit point Select Left and Right Audio Edit Edges Shift-Backslash (\) Select the left and right edges of the edit point Select Left and Right Edit Edges Backslash (\) For audio/video clips in expanded view, select the left and right edges of the video edit point Select Left and Right Video Edit Edges Control-Backslash (\) For audio/video clips in expanded view, select the left edge of the video edit point Select Left Video Edge Control-Left Bracket ([) Switch to the next angle in the multicam clip Select Next Angle Control-Shift-Right Arrow Switch to the next audio angle in the multicam clip Select Next Audio Angle Option-Shift-Right Arrow Final Cut Pro User Guide 813 Action Command Shortcut Move the playhead and the selection to the next topmost timeline clip in the same role Select Next Clip Command-Right Arrow Select the next clip in the Audition window, making it the audition pick Select Next Pick Control-Right Arrow Switch to the next video angle in the multicam clip Select Next Video Angle Shift-Command-Right Arrow Move the playhead and the selection to the previous topmost timeline clip in the same role Select Previous Clip Command-Left Arrow For audio/video clips in expanded view, select the right edge of the audio edit point Select Right Audio Edge Shift-Right Bracket (]) Select the right edge of the edit point Select Right Edge Right Bracket (]) For audio/video clips in expanded view, select the right edge of the video edit point Select Right Video Edge Control-Right Bracket (]) Set an additional range selection end point at the playhead or skimmer location Set Additional Selection End Shift-Command-O Set an additional range selection start point at the playhead or skimmer location Set Additional Selection Start Shift-Command-I When an edit point is selected, show or hide the precision editor Show/Hide Precision Editor Control-E Turn snapping on or off Snapping N Solo the selected items in the timeline Solo Option-S Turn on audio/video mode to add the video and audio portion of your selection to the timeline Source Media: Audio & Video Shift-1 Turn on audio-only mode to add the audio portion of your selection to the timeline Source Media: Audio Only Shift-3 Turn on video-only mode to add the video portion of your selection to the timeline Source Media: Video Only Shift-2 Replace the selected captions with abutting single-line captions, one for each line of text in the original captions. Split Caption Control-Option-Command-C Switch the multicam clip to angle 1 of the current bank Switch to Viewer Angle 1 Option-1 Switch the multicam clip to angle 2 of the current bank Switch to Viewer Angle 2 Option-2 Final Cut Pro User Guide 814 Action Command Shortcut Switch the multicam clip to angle 3 of the current bank Switch to Viewer Angle 3 Option-3 Switch the multicam clip to angle 4 of the current bank Switch to Viewer Angle 4 Option-4 Switch the multicam clip to angle 5 of the current bank Switch to Viewer Angle 5 Option-5 Switch the multicam clip to angle 6 of the current bank Switch to Viewer Angle 6 Option-6 Switch the multicam clip to angle 7 of the current bank Switch to Viewer Angle 7 Option-7 Switch the multicam clip to angle 8 of the current bank Switch to Viewer Angle 8 Option-8 Switch the multicam clip to angle 9 of the current bank Switch to Viewer Angle 9 Option-9 Turn on or turn off the ability to build storylines when dragging clips in the timeline Toggle Storyline Mode G Trim the end of the selected or topmost clip to the skimmer or playhead position Trim End Option-Right Bracket (]) Trim the clip start point to the skimmer or playhead position Trim Start Option-Left Bracket ([) Trim clip start and end points to the range selection Trim to Selection Option-Backslash (\) Effects Action Command Shortcut Connect a basic lower-third title to the primary storyline Add Basic Lower Third Control-Shift-T Connect a basic title to the primary storyline Add Basic Title Control-T Add the default audio effect to the selection Add Default Audio Effect Option-Command-E Add the default transition to the selection Add Default Transition Command-T Apply a crossfade to the audio edit point between the selected clips Crossfade Option-T Add the default video effect to the selection Add Default Video Effect Option-E Reset the controls in the current Color Board pane Color Board: Reset Current Board Controls Option-Delete Final Cut Pro User Guide 815 Action Command Shortcut Switch to the Color pane in the Color Board Color Board: Switch to the Color Pane Control-Command-C Switch to the Exposure pane in the Color Board Color Board: Switch to the Exposure Pane Control-Command-E Switch to the Saturation pane in the Color Board Color Board: Switch to the Saturation Pane Control-Command-S Copy the selected effects and their settings Copy Effects Option-Command-C Copy the selected keyframes and their settings Copy Keyframes Option-Shift-C Cut the selected keyframes and their settings Cut Keyframes Option-Shift-X Turn Balance Color corrections on or off Enable/Disable Balance Color Option-Command-B Match the sound between clips Match Audio Shift-Command-M Match color between clips Match Color Option-Command-M Navigate to the next text item Next Text Option-Tab Paste selected attributes and their settings to the selection Paste Attributes Shift-Command-V Paste effects and their settings to the selection Paste Effects Option-Command-V Paste keyframes and their settings to the selection Paste Keyframes Option-Shift-V Navigate to the previous text item Previous Text Option-Shift-Tab Remove selected attributes from the selection Remove Attributes Shift-Command-X Remove all effects from the selection Remove Effects Option-Command-X Show or hide the retime editor Retime Editor Command-R Set the selection to play at normal (100 percent) speed Retime: Create Normal Speed Segment Shift-N Create a 2-second hold segment Retime: Hold Shift-H Reset the selection to play forward at normal (100 percent) speed Retime: Reset Option-Command-R Show one effect at a time in the Video Animation editor Solo Animation Control-Shift-V Final Cut Pro User Guide 816 General Action Command Shortcut Delete the timeline selection, reject the browser selection, or remove a through edit Delete Delete Show or hide the Filter window (in the browser) or the timeline index (in the timeline) Find Command-F Make the event viewer active Go to Event Viewer Option-Command-3 Import media from a device, a camera, or an archive Import Media Command-I Open the Library Properties inspector for the current library Library Properties Control-Command-J Move the selection to the Finder Trash Move to Trash Command-Delete Create a new project New Project Command-N Open the Properties inspector for the current project Project Properties Command-J Start all rendering tasks for the current project Render All Control-Shift-R Start rendering tasks for the selection Render Selection Control-R Reveal the selected event clip’s source media file in the Finder Reveal in Finder Shift-Command-R Marking Action Command Shortcut Add a caption to the active language subrole at the playhead location Add Caption Option-C (or Control-Option-C if the caption editor is open) Add a marker at the location of the skimmer or playhead Add Marker M Change the browser filter settings to show all clips All Clips Control-C Add a marker and edit the marker’s text Add Marker and Modify Option-M Apply keyword 1 to the selection Apply Keyword Tag 1 Control-1 Apply keyword 2 to the selection Apply Keyword Tag 2 Control-2 Apply keyword 3 to the selection Apply Keyword Tag 3 Control-3 Apply keyword 4 to the selection Apply Keyword Tag 4 Control-4 Apply keyword 5 to the selection Apply Keyword Tag 5 Control-5 Final Cut Pro User Guide 817 Action Command Shortcut Apply keyword 6 to the selection Apply Keyword Tag 6 Control-6 Apply keyword 7 to the selection Apply Keyword Tag 7 Control-7 Apply keyword 8 to the selection Apply Keyword Tag 8 Control-8 Apply keyword 9 to the selection Apply Keyword Tag 9 Control-9 Clear the range selection Clear Selected Ranges Option-X Clear the range’s end point Clear Range End Option-O Clear the range’s start point Clear Range Start Option-I Delete the selected marker Delete Marker Control-M Delete all of the markers in the selection Delete Markers in Selection Control-Shift-M Deselect all selected items Deselect All Shift-Command-A Open the selected caption in the caption editor Edit Caption Control-Shift-C Rate the browser selection as favorite Favorite F Change the browser filter settings to show favorites Favorites Control-F Change the browser filter settings to hide rejected clips Hide Rejected Control-H Create a new Keyword Collection New Keyword Collection Shift-Command-K Create a new Smart Collection New Smart Collection Option-Command-N Make the Range Selection tool active Range Selection Tool R Mark the current selection in the browser as rejected Note: The Delete key removes selected items if the timeline is active instead of the browser. Reject Delete Change the browser filter settings to show rejected clips Rejected Control-Delete Remove all keywords from the browser selection Remove All Keywords From Selection Control-0 Apply Dialogue subroles to the selected clip’s components Roles: Apply Dialogue Role Control-Option-D Apply Effects subroles to the selected clip’s components Roles: Apply Effects Role Control-Option-E Apply Music subroles to the selected clip’s components Roles: Apply Music Role Control-Option-M Apply the Titles role to the selected clip Roles: Apply Titles Role Control-Option-T Final Cut Pro User Guide 818 Action Command Shortcut Apply the Video role to the selected clip Roles: Apply Video Role Control-Option-V Select all clips Select All Command-A Set the range selection to match the boundaries of the clip below the skimmer or playhead Select Clip Range X Set an additional range selection end point at the playhead or skimmer location Set Additional Range End Shift-Command-O Set an additional range selection start point at the playhead or skimmer location Set Additional Range Start Shift-Command-I Set the end point for the range Set Range End O Set the end point for the range while editing a text field Set Range End Control-O Set the start point for the range Set Range Start I Set the start point for the range while editing a text field Set Range Start Control-I Remove ratings from the selection Unrate U Organization Action Command Shortcut Create a new event New Event Option-N Create a new folder New Folder Shift-Command-N Reveal the selected clip in the browser Reveal in Browser Shift-F Reveal the open project in the browser Reveal Project in Browser Option-Shift-Command-F Sync the selected event clips Synchronize Clips Option-Command-G Playback and navigation Action Command Shortcut Turn audio skimming on or off Audio Skimming Shift-S Play the pick in context in the timeline Audition: Preview Control-Command-Y Turn clip skimming on or off Clip Skimming Option-Command-S Turn on audio-only mode for multicam cutting and switching Cut/Switch Multicam Audio Only Option-Shift-3 Final Cut Pro User Guide 819 Action Command Shortcut Turn on audio/video mode for multicam cutting and switching Cut/Switch Multicam Audio and Video Option-Shift-1 Turn on video-only mode for multicam cutting and switching Cut/Switch Multicam Video Only Option-Shift-2 Go to the next item (in the browser) or the next edit point (in the timeline) Down Down Arrow While editing a text field, go to the next item (in the browser) or the next edit point (in the timeline) Down Control-Down Arrow Move the playhead back 10 frames Go Back 10 Frames Shift-Left Arrow Move the playhead forward 10 frames Go Forward 10 Frames Shift-Right Arrow Move the playhead to the beginning of the timeline or the first clip in the browser Go to Beginning Home key (or Fn-Left Arrow) Move the playhead to the end of the timeline or to the last clip in the browser Go to End End key (or Fn-Right Arrow) Display the next bank of angles in the current multicam clip Go to Next Bank Option-Shift-Apostrophe (’) Move the playhead to the next edit point in the timeline Go to Next Edit Apostrophe (’) Move the playhead to the next field in an interlaced clip Go to Next Field Option-Right Arrow Move the playhead to the next focus point Go to Next Focus Point Option-Shift-Command-Right Arrow Move the playhead to the next frame Go to Next Frame Right Arrow Move the playhead to the next audio subframe Go to Next Subframe Option-Right Arrow Display the previous bank of angles in the current multicam clip Go to Previous Bank Option-Shift-Semicolon (;) Move the playhead to the previous edit point in the timeline Go to Previous Edit Semicolon (;) Move the playhead to the previous field in an interlaced clip Go to Previous Field Option-Left Arrow Move the playhead to the previous focus point Go to Previous Focus Point Option-Shift-Command-Left Arrow Move the playhead to the previous frame Go to Previous Frame Left Arrow Move the playhead to the previous audio subframe Go to Previous Subframe Option-Left Arrow Move the playhead to the end of the range selection Go to Range End Shift-O Final Cut Pro User Guide 820 Action Command Shortcut Move the playhead to the beginning of the range selection Go to Range Start Shift-I Roll the 360° viewer clockwise Look Clockwise Control-Option-Command-Right Bracket Roll the 360° viewer counterclockwise Look Counterclockwise Control-Option-Command-Left Bracket Tilt the 360° viewer down Look Down Control-Option-Command-Down Arrow Pan the 360° viewer to the left Look Left Control-Option-Command-Left Arrow Pan the 360° viewer to the right Look Right Control-Option-Command-Right Arrow Pan the 360° viewer up Look Up Control-Option-Command-Up Arrow Turn looped playback on or off Loop Playback Command-L Mirror the display of the connected VR headset in the 360° viewer Mirror VR Headset Control-Option-Command-9 Turn on or turn off audio monitoring for the angle being skimmed Monitor Audio Shift-A Enter a negative timecode value to move the playhead back, move a clip earlier, or trim a range or clip, depending on your selection Negative Timecode Entry Hyphen (-) Go to the next item (in the browser) or the next edit point (in the timeline) Next Clip Control-Command-Right Arrow Move the playhead to the next marker Next Marker Control-Apostrophe (’) Send 360° video to the connected VR headset Output to VR Headset Control-Option-Command-7 Play around the playhead position Play Around Shift-Question Mark (?) Play forward (press L multiple times to increase the playback speed) Play Forward L Play from the playhead position Play from Playhead Option-Space bar Play full screen from the skimmer or playhead position Play Full Screen Shift-Command-F Play in reverse (press J multiple times to increase the reverse playback speed) Play Reverse J Play in reverse while editing a text field (press J multiple times to increase the reverse playback speed) Play Reverse Control-J Play in reverse Play Reverse Shift-Space bar Final Cut Pro User Guide 821 Action Command Shortcut Play the selection Play Selection Slash (/) Play from the playhead to the end of the selection Play to End Control-Shift-O Start or pause playback Play/Pause Space bar Start or pause playback while editing a text field Play/Pause Control-Space bar Enter a positive timecode value to move the playhead forward, move a clip later, or trim a range or clip, depending on your selection Positive Timecode Entry Equal Sign (=) Go to the previous item (in the browser) or the previous edit point (in the timeline) Previous Clip Control-Command-Left Arrow Move the playhead to the previous marker Previous Marker Control-Semicolon (;) Set the angle being skimmed as the monitoring angle Set Monitoring Angle Shift-V Turn skimming on or off Skimming S Start or stop recording audio from the Record Voiceover window Start/Stop Voiceover Recording Option-Shift-A Stop playback Stop K Stop playback while editing a text field Stop Control-K Go back one level in the timeline history Timeline History Back Command-Left Bracket ([) Go forward one level in the timeline history Timeline History Forward Command-Right Bracket (]) Go to the previous item (in the browser) or the previous edit point (in the timeline) Up Up Arrow While editing a text field, go to the previous item (in the browser) or the previous edit point (in the timeline) Up Control-Up Arrow Share and tools Action Command Shortcut Share the selected project or clip using the default destination Share to Default Destination Command-E Make the Select tool active Select (Arrow) Tool A Make the Blade tool active Blade Tool B Final Cut Pro User Guide 822 Action Command Shortcut Make the Cinematic tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Cinematic Tool Control-Shift-F Make the Crop tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Crop Tool Shift-C Make the Distort tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Distort Tool Option-D Make the Hand tool active Hand Tool H Make the Position tool active Position Tool P Make the Transform tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Transform Tool Shift-T Make the Trim tool active Trim Tool T Make the Zoom tool active Zoom Tool Z View Action Command Shortcut Show or hide the Cinematic Editor for the selected timeline clips Cinematic Editor Control-Option-F Depending on the clip name setting, display timeline clips with clip names, role names, or active angle names only Clip Appearance: Clip Labels Only Control-Option-6 Decrease the size of audio waveforms for timeline clips Clip Appearance: Decrease Waveform Size Control-Option-Down Arrow Display timeline clips with large filmstrips only Clip Appearance: Filmstrips Only Control-Option-5 Increase the size of audio waveforms for timeline clips Clip Appearance: Increase Waveform Size Control-Option-Up Arrow Display timeline clips with small audio waveforms and large filmstrips Clip Appearance: Large Filmstrips Control-Option-4 Display timeline clips with large audio waveforms and small filmstrips Clip Appearance: Large Waveforms Control-Option-2 Display timeline clips with audio waveforms and video filmstrips of equal size Clip Appearance: Waveforms and Filmstrips Control-Option-3 Final Cut Pro User Guide 823 Action Command Shortcut Display timeline clips with large audio waveforms only Clip Appearance: Waveforms Only Control-Option-1 Decrease the browser clip height Decrease Clip Height Shift-Command-Hyphen (-) Increase the browser clip height Increase Clip Height Shift-Command-Equal Sign (=) Show fewer filmstrip frames in browser clips Show Fewer Filmstrip Frames Shift-Command-Comma (,) Show or hide the Audio Animation editor for the selected clips or components Show/Hide Audio Animation Control-A Show or hide clip information when skimming in the browser Show/Hide Skimmer Info Control-Y Show or hide the Video Animation editor for the selected timeline clips Show/Hide Video Animation Control-V Show more filmstrip frames in browser clips Show More Filmstrip Frames Shift-Command-Period (.) Show one frame per filmstrip Show One Frame per Filmstrip Option-Shift-Command-Comma (,) Switch the browser between filmstrip view and list view Toggle Filmstrip/List View Option-Command-2 Show or hide clip names in the browser View Clip Names Option-Shift-N Zoom in to the browser, viewer, or timeline Zoom In Command-Plus Sign (+) Zoom out of the browser, viewer, or timeline Zoom Out Command-Minus Sign (–) Zoom the contents to fit the size of the browser, viewer, or timeline Zoom to Fit Shift-Z Turn zooming in to audio samples on or off Zoom to Samples Control-Z Windows Action Command Shortcut Switch to the Anaglyph view in the 360° viewer (stereoscopic only) Anaglyph Control-Option-Command-3 Switch to the Anaglyph Monochrome view in the 360° viewer (stereoscopic only) Anaglyph Monochrome Control-Option-Command-4 Switch to the Anaglyph Outline view in the 360° viewer (stereoscopic only) Anaglyph Outline Control-Option-Command-5 Show or hide the Background Tasks window Background Tasks Command-9 Final Cut Pro User Guide 824 Action Command Shortcut Switch to the Difference view in the 360° viewer (stereoscopic only) Difference Control-Option-Command-6 Make the Audio Enhancements inspector active Go to Audio Enhancements Command-8 Make the browser active Go to Browser Command-1 Make the Color Board active Go to Color Board Command-6 Make the current inspector active Go to Inspector Option-Command-4 Make the timeline active Go to Timeline Command-2 Make the viewer active Go to Viewer Command-3 Switch to the Left Eye view in the 360° viewer (stereoscopic only) Left Control-Option-Command-1 Go to the next pane in the inspector or the Color Board Next Tab Control-Tab Go to the previous pane in the inspector or the Color Board Previous Tab Control-Shift-Tab Show or hide the Record Voiceover window Record Voiceover Option-Command-8 Switch to the Right Eye view in the 360° viewer (stereoscopic only) Right Control-Option-Command-2 Show the vectorscope in the viewer Show Vectorscope Control-Command-V Show the waveform monitor in the viewer Show Video Waveform Control-Command-W Show or hide the angle viewer Show/Hide Angles Shift-Command-7 Show or hide the audio meters Show/Hide Audio Meters Shift-Command-8 Show or hide the browser Show/Hide Browser Control-Command-1 Show or hide the comparison viewer Show/Hide Comparison Viewer Control-Command-6 Show or hide the Effects browser Show/Hide Effects Browser Command-5 Show or hide the Transitions browser Show/Hide Transitions Browser Control-Command-5 Show or hide the event viewer Show/Hide Event Viewer Control-Command-3 Show or hide the inspector Show/Hide Inspector Command-4 Show or hide the keyword editor Show/Hide Keyword Editor Command-K Show or hide the Libraries sidebar Show/Hide Libraries Sidebar Command-1 Show or hide the Photos and Audio sidebar Show/Hide Photos and Audio Sidebar Shift-Command-1 Show or hide the sidebar Show/Hide Sidebar Command-Grave Accent (`) Show or hide the 360° viewer Show/Hide 360° Viewer Option-Command-7 Final Cut Pro User Guide 825 Action Command Shortcut Show or hide the timeline Show/Hide Timeline Control-Command-2 Show or hide the timeline index for the open project Show/Hide Timeline Index Shift-Command-2 Show or hide the Titles and Generators sidebar Show/Hide Titles and Generators Sidebar Option-Command-1 Show or hide the video scopes in the viewer Show/Hide Video Scopes Command-7 Switch to the Superimpose view in the 360° viewer (stereoscopic only) Superimpose Control-Option-Command-Grave Accent (`) Switch between the half-height view and full-height view in the inspector Toggle Inspector Height Control-Command-4 Multi-Touch trackpad gestures in Final Cut Pro If your Mac has a Multi-Touch trackpad, you can use the Multi-Touch gestures listed in the table below when working with Final Cut Pro. For more information about Multi-Touch gestures, choose Apple menu > System Preferences, then click Trackpad. Gesture Action Pinch (two-finger): Pinch closed with two fingers to zoom out of the timeline or window. Pinch open to zoom in to the timeline or window. Double-tap (two-finger): Double-tap with two fingers to zoom the timeline so that all the clips fill the visible part of the timeline. Swipe (two-finger): Swipe with two fingers to scroll left, right, up, or down in the timeline. Click (two-finger): Click once to open the shortcut menu. Drag (three-finger): Drag a selection rectangle over the timeline or event clips you want to select, or drag to move selected clips. Final Cut Pro User Guide 826 Gesture Action Swipe (three-finger): Swipe left or right to move the playhead to the previous or next edit point. Swipe up or down to move the playhead to the beginning or end of the timeline. Note: To enable this gesture, choose Apple menu > System Preferences, click Trackpad, then click More Gestures. Click the “Swipe between pages” pop-up menu and choose “Swipe with three fingers.” Enabling this gesture automatically disables the “Drag (three-finger)” gesture described above. Touch Bar shortcuts in Final Cut Pro If your MacBook Pro has a Touch Bar, you can use familiar gestures like swipe and tap to quickly perform tasks such as scrubbing the timeline, applying an audio fade, selecting tools, or editing text. With the exception of the Control Strip (on the right side of the Touch Bar) and the Esc button (on the left), the contents of the Touch Bar are dynamic—the controls change depending on your current selection within Final Cut Pro and other apps. Related buttons and sliders appear together in groups in the bar. For more information about the Control Strip and Esc button, see MacBook Pro Essentials. To learn more about the Touch Bar, see the Apple Support article Use the Touch Bar on Mac. Browser with no selection These controls appear in the Touch Bar when the browser is active but no clips are selected. Item Name Description Import Import media from a device, camera, or archive. New Event Create a new event. New Project Create a new project. Final Cut Pro User Guide 827 Browser with a selection These controls appear in the Touch Bar when the browser is active and something in the browser is selected. You can use these controls to manage and sort your media in the browser. Item Name Description Info Inspector Open the Info inspector for the selected item. Audio Controls Display a set of audio controls in the Touch Bar. See Audio controls, below. Move to Start Move the skimmer or playhead to the start of the selection or clip. Move to End Move the skimmer or playhead to the end of the selection or clip. Clear Selection Clear the range selection. List View Switch the browser from filmstrip view to list view. See Intro to browser views. Filmstrip View Switch the browser from list view to filmstrip view. See Intro to browser views. Typing suggestions When you type a name for a new event or project, the Touch Bar displays typing suggestions based on your recent activity and information from your apps. (Typing suggestions are not available in all languages.) Tap a word to choose it, or accept a highlighted suggestion by entering a space or punctuation. Timeline editing These controls appear in the Touch Bar when the timeline is active. Use these trimming, playback, and navigation controls to streamline your editing workflow. Item Name Description Editing Tools Display a set of editing tools in the Touch Bar. The button shows the active tool. See Editing tools, below. Final Cut Pro User Guide 828 Item Name Description Audio Controls Display a set of audio controls in the Touch Bar. See Audio controls, below. Override Clip Connections Temporarily override clip connections for the selection. See Edit clips in the primary storyline without affecting connected clips. Trim to Playhead Trim the edit point closest to the playhead. See Cut the start or end of a clip at the playhead. Trim Start Trim the clip start point to the skimmer or playhead position. See Cut the start or end of a clip at the playhead. Trim End Trim the clip end point to the skimmer or playhead position. See Cut the start or end of a clip at the playhead. Play Around Play around the playhead position. See Play back video and audio clips. Timeline Navigation Display the Timeline Navigation slider in the Touch Bar. See Timeline navigation, below. Editing tools The timeline editing tools appear in the Touch Bar when you tap the Editing Tools button . The default editing tool is the Select tool. You can tap any tool to make it the active tool. When you choose a tool, the pointer changes to the icon for that tool. Item Name Description Close Close the editing tools. Select tool Select items in the timeline. See Select clips. Trim tool Trim clips in the timeline using ripple, roll, slip, and slide edits. See Intro to trimming. Position tool Place clips in the timeline. See Overwrite clips using the Position tool. Range Selection tool Select a range within a clip or across multiple clips. See Select ranges. Final Cut Pro User Guide 829 Item Name Description Blade tool Cut clips in the timeline. See Cut clips in two. Zoom tool Zoom in and out of the timeline. See Zoom in to and out of the timeline using the Zoom tool. Hand tool Scroll the timeline. See Scroll a zoomed-in timeline. Audio controls The audio controls appear when you tap the Audio Controls button in the Touch Bar. Item Name Description Close Close the audio controls. Silence Silence the selected clip, range, or audio component. See Silence clips or ranges. Audio Fade In Apply an audio fade-in to selected clips or audio components (available for timeline selections only). See Apply fades using the Modify menu. Decrease Volume Decrease the volume for the selected clip, range, or audio component. See Adjust volume. Volume slider Adjust the volume for the selected clip, range, or audio component (available for single-item selections only). See Adjust volume. Increase Volume Increase the volume for the selected clip, range, or audio component. See Adjust volume. Audio Fade Out Apply an audio fade-out to the selected clip, range, or audio component (available for timeline selections only). See Apply fades using the Modify menu. Timeline navigation When you tap the Timeline Navigation button , the Timeline Navigation slider appears in the Touch Bar. Use the slider to control what portion of your project is visible in the timeline. Drag the start or end handle, or drag the center of the slider to move the start and end points at the same time. Final Cut Pro User Guide 830 To close the Timeline Navigation slider and return to the timeline editing controls, tap the close button . Note: When Final Cut Pro is in full-screen view, a timeline appears in the Touch Bar, which you can navigate by tapping or dragging. Text editing These controls appear in the Touch Bar when you select a title in the viewer. Use these controls to format and edit your titles. Note: The Done button does not appear in the Touch Bar on all MacBook Pro models. Item Name Description Text Appearance Display a set of text alignment, style, and appearance controls in the Touch Bar. See Text alignment and appearance, below. Text Size Display the Text Size slider. See Text size, below. Text Kerning Display the Text Kerning slider. See Text kerning, below. 3D Text Enable or disable 3D text. See Convert text to 3D text. Text Color Display the text color controls, including controls for adjusting hue, brightness, and saturation (available for 2D text only). See Text color, below. Text alignment and appearance These controls appear in the Touch Bar when you tap the Text Appearance button in the text editing controls. Use these controls to adjust the alignment, style, and appearance of text selected in the viewer. Item Name Description Close Close the text appearance controls. Align Text Left Align the selected text to the left. Align Text Center Center the selected text. Final Cut Pro User Guide 831 Item Name Description Align Text Right Align the selected text to the right. Bold Text Make the selected text bold (if available for the selected font). Italic Text Italicize the selected text (if available for the selected font). Text Face Turn the Face parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Outline Turn the Outline parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Glow Turn the Glow parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Drop Shadow Turn the Drop Shadow parameter settings on or off (available for 2D text only). See Change a title’s text style. Text size When you tap the Text Size button in the text editing controls, the Text Size slider appears in the Touch Bar. Drag the slider to change the size of text selected in the viewer. To close the Text Size slider and return to the text editing controls, tap the close button . Text kerning When you tap the Text Kerning button in the text editing controls, the Text Kerning slider appears in the Touch Bar. Drag the slider to adjust the space between text characters. Note: For the slider to be available, the insertion point (a blinking bar) must be positioned between text characters in the viewer. To close the Text Kerning slider and return to the text editing controls, tap the close button . Final Cut Pro User Guide 832 Text color When you tap the Text Color button in the text editing controls, the text color controls appear in the Touch Bar. Either the color swatches or the hue controls appear, depending on which controls were open last. To switch between the color swatches and the hue controls, tap the Hue/Color Swatch button on the right end of the Touch Bar. To change the color of text, select it in the viewer, then tap a color swatch, or drag the Hue slider. Item Name Description Close Close the text color controls. Active Color Displays the active color (hue), based on your current color settings. Hue/Color Swatch Switch between displaying color swatches and hue controls. Brightness Display the Brightness control. Tap or drag to change the brightness of the text selected in the viewer. Saturation Display the Saturation control. Tap or drag to change the saturation of the text selected in the viewer. Final Cut Pro User Guide 833 Customize keyboard shortcuts Intro to the Command Editor in Final Cut Pro You can use the Command Editor to view and modify existing shortcuts, create new shortcuts, and save multiple sets of keyboard shortcuts that you can export for others to use. You can also import a set of shortcuts that someone else created. And if you’re more familiar with keyboard shortcuts from other apps, you can use the Command Editor to substitute those shortcuts in place of the default set in Final Cut Pro. View keyboard shortcuts in Final Cut Pro Final Cut Pro provides a wide variety of menu commands and keyboard shortcuts that let you control almost every aspect of your project, from playback to displaying windows and inspectors to working with tools. The Command Editor provides a set of Final Cut Pro keyboard shortcuts in English, Japanese, French, and German. The language that is shown is determined by your computer’s operating system. To learn how to change the language used by Final Cut Pro, see macOS Help, available from the Help menu when the Finder is active. Final Cut Pro User Guide 834 View standard keyboard shortcuts 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). The Command Editor appears. 2. To find keyboard shortcuts in the Command Editor, do any of the following: • Click one or more keys on the virtual keyboard (or click one of the four modifier key buttons at the top of the Command Editor). The command groups, or categories, associated with the selected key or keys appear in the bottom-left corner of the window, and a list of all the keyboard shortcuts associated with the key or keys appears in the bottom-right corner of the window. Final Cut Pro User Guide 835 When you press any modifier key on your keyboard, or click any modifier key button to select it, the key colors update. Key colors correspond with command groups; for example, editing commands, such as Overwrite (D), are blue. The clickable list of command groups in the bottom-left corner of the Command Editor contains a color key for reference. • Enter a command name, description keywords, or a key name in the search field at the top-right corner of the window. The commands that match the search term appear in the command list at the bottom of the window. Tip: To show the keys that correspond with the items in the command list, click the Keyboard Highlight button to the left of the search field. Click any command in the list to view a description in the detail area on the right. • Click a command group to quickly filter the command list to display only the commands and keyboard shortcuts in that group. Click any command in the list to view a description in the detail area on the right. Final Cut Pro User Guide 836 View shortcuts from a different command set If your system has multiple command sets, you can easily switch between them. See Export or import keyboard shortcuts. In Final Cut Pro, do one of the following: • Choose Final Cut Pro > Commands, then choose a command set from the submenu. The Command Editor window appears, showing the command set you chose. • If you’ve already opened the Command Editor, click the pop-up menu in the top-left corner of the window and choose a command set. Modify keyboard shortcuts in Final Cut Pro You can quickly and easily customize keyboard shortcuts in the Command Editor. If you want to add a few custom commands to the default set in Final Cut Pro, you can duplicate the default set and assign keyboard shortcuts to some of the unassigned commands. You can also create a new set that contains only your commands. Duplicate a command set 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to duplicate isn’t shown, click the pop-up menu in the top-left corner of the Command Editor choose a different command set. 3. Click the pop-up menu in the top-left corner of the Command Editor and choose Duplicate. 4. In the window that appears, type a name for the command set, then click OK. The duplicate set is added to the Commands submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor. Modify a command set You can add keyboard shortcuts to a command set or reassign keyboard shortcuts. 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to modify isn’t shown, click the pop-up menu in the top-left corner of the Command Editor and choose a different command set. Final Cut Pro User Guide 837 3. Select the command you want to assign a new keyboard shortcut to by doing one of the following: • Type a command name in the search field in the top-right corner of the Command Editor. • Browse the command list to find the command you want. 4. Press the combination of keys you want to use for the command (for example, OptionShift-T, or any other keys). Note: The keys on the Command Editor keyboard that are shaded with diagonal lines are reserved for system use and can’t be assigned. If the key combination is not already assigned to a command, the Command Editor keyboard updates to show the new key assignment. A gray dot appears on the newly assigned key (or keys), and a color is applied if the command belongs to a color-coded command group. If the key combination is already assigned to a command, Final Cut Pro displays the current setting, and you’re asked to confirm the change. 5. To save your changes to the command set, click the Save button in the lower-right corner of the Command Editor. If you close the Command Editor with unsaved changes, you’re prompted to save your changes. Delete a command set 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to delete isn’t shown, click the pop-up menu in the topleft corner of the Command Editor and choose a different command set. 3. Click the pop-up menu in the top-left corner of the Command Editor and choose Delete. 4. In the window that appears, click Delete. The command set is removed. Export or import keyboard shortcuts with Final Cut Pro After you save a command set, you may want to export it to create a backup or to share the new set with another user. Exported command sets are saved in a file that can be imported back into Final Cut Pro at a later time. Export a set of custom keyboard shortcuts 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to export isn’t shown, click the pop-up menu in the topleft corner of the Command Editor and choose a different command set. 3. Do one of the following: • Choose Final Cut Pro > Commands > Export. • Click the pop-up menu in the top-left corner of the Command Editor and choose Export. Final Cut Pro User Guide 838 4. Type a name for the exported command set in the Save As field, navigate to the location where you want to save the exported set, and click Save. The file is saved in the location you chose, with the filename extension .commandset. Import a command set 1. In Final Cut Pro, do one of the following: • Choose Final Cut Pro > Commands > Import. • Open the Command Editor by choosing Final Cut Pro > Commands > Customize, then click the pop-up menu in the upper-left corner of the Command Editor and choose Import. 2. In the window that appears, navigate to the location where you’ve stored a command set file, select it, and click Open. If you’re already using a command set with the same name, you’re asked to rename the command set. The new command set is added to the Commands submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor. Customize the Final Cut Pro interface Arrange the Final Cut Pro main window The main areas of the Final Cut Pro window include the browser, viewer, timeline, sidebar, and inspector. You can show, hide, and resize these areas to suit both your working style and the task at hand, even across multiple displays. Final Cut Pro also comes with a set of predefined workspace layouts, and you can create and save your own custom workspace layouts. See Change the workspace layout. Final Cut Pro User Guide 839 Resize areas of the Final Cut Pro window • Drag the border between two areas of the Final Cut Pro window. As you drag, one area gets larger, and the other gets smaller. When both the browser and viewer are shown, the bottom of the browser and viewer acts as a single border—resizing one resizes the other as well. Show or hide the browser, the timeline, or the inspector In Final Cut Pro, do any of the following: • Show or hide the browser: Click the Browser button in the toolbar (or press ControlCommand-1). The image below shows the Final Cut Pro window with the browser hidden and just the viewer and the timeline showing: Final Cut Pro User Guide 840 • Show or hide the timeline: Click the Timeline button in the toolbar (or press ControlCommand-2). Note: You can’t hide both the browser and the timeline at the same time. • Show or hide the inspector: Click the Inspector button in the toolbar (or press Command-4). Tip: To switch the inspector between full-height view and half-height view, doubleclick the top bar of the inspector. You can also choose View > Toggle Inspector Height (or press Control-Command-4). Show or hide the sidebar The sidebar appears to the left of the browser and contains three panes for selecting different types of media: the Libraries sidebar, the Photos and Audio sidebar, and the Titles and Generators sidebar. When you select an item in the sidebar (such as an event containing clips, or a category of sound effects or 3D titles), the item’s contents are displayed in the browser. You can show or hide any of the sidebars. In Final Cut Pro, do any of the following: • Show the Libraries sidebar: Click the Libraries button in the top-left corner of the Final Cut Pro window, or choose Window > Go To > Libraries (or press Command-1). • Show the Photos and Audio sidebar: Click the Photos and Audio button in the top-left corner, or choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Show the Titles and Generators sidebar: Click the Titles and Generators button in the top-left corner, or choose Window > Go To > Titles and Generators (or press Option-Command-1). Final Cut Pro User Guide 841 • Show or hide the sidebar: Choose Window > Show in Workspace > Sidebar, or press Command-Grave Accent (`). You can also hide the sidebar by clicking the button for the sidebar that’s currently shown (the button is highlighted). Use a second display with Final Cut Pro When you connect a second display to your Mac, controls appear that allow you to move the viewer, browser, or timeline to the second display. To view playback on an external video monitor, see Play media on an external display and Color correct HDR video with Pro Display XDR. 1. Make sure that the second display is connected to your Mac and turned on. The Secondary Display button and pop-up menu appear in the toolbar at the top of the Final Cut Pro window. 2. To choose which area of the Final Cut Pro window you want to move to the second display, do one of the following: • Click the Secondary Display pop-up menu and choose Timeline, Viewer, or Browser. • Choose Window > Show in Secondary Display > [item]. Final Cut Pro User Guide 842 The area you chose moves to the second display, and the other areas of the Final Cut Pro window are adjusted on the primary display. To move all areas back to the primary display, click the Secondary Display button. Final Cut Pro User Guide 843 Change the workspace layout in Final Cut Pro Final Cut Pro comes with a set of predefined workspace layouts that determine the size and location of the main areas of the Final Cut Pro window, including the browser, the viewer, the inspector, and the timeline. If none of the existing workspace layouts meet your needs, you can create and save additional layouts. After you save a custom workspace layout, you can easily share it with others. When you create custom layouts, you can include additional areas, such as the timeline index, the event viewer, the comparison viewer, and the audio meters. Choose a workspace layout • In Final Cut Pro, choose Window > Workspaces, then choose a layout from the submenu. Save custom workspace layouts 1. In Final Cut Pro, arrange the areas of the main window the way you want them. See Arrange the main window. 2. Choose Window > Workspaces > “Save Workspace as.” 3. Enter a name for the new layout, then click Save. The new layout is added to the Workspaces submenu. Tip: To save a change to an existing custom layout, make the change, then choose Window > Workspaces > Update [name] Workspace. Share custom workspace layouts You can easily copy custom workspace layouts to another computer or share them with friends and colleagues. 1. In Final Cut Pro, save a custom workspace layout. See Save custom workspace layouts, above. Final Cut Pro User Guide 844 2. Choose Window > Workspaces > Open Workspace Folder in Finder. The Workspaces folder, with all the custom layouts you created, opens in the Finder. 3. In the Finder, select the custom layout files you want to share, then choose File > Compress. Note: Compressing the files prevents any change to custom layouts during transit. 4. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. 5. On the receiving Mac, double-click the ZIP file to decompress it. 6. In the Finder, hold down the Option key and choose Go > Library. 7. Drag the custom layout files to the following location in the Library folder: /Users/username/Library/Application Support/Final Cut Pro/Workspaces/ Use workflow extensions in Final Cut Pro You can use extensions to access features of third-party apps from within Final Cut Pro. For example, you can access stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro. 1. To install an extension for Final Cut Pro, follow the instructions that came with the extension app. 2. Open Final Cut Pro. 3. Click the Extensions button on the left side of the Final Cut Pro toolbar. Note: The Extensions button appears only when extensions are installed. The extension window or a menu of installed extensions appears. See the documentation that came with extension app for instructions on how to use it. For example, you might drag items from the extension window to an event in the Libraries sidebar or to a project in the timeline. 4. To close the extension window, click the Extensions button. To uninstall an extension, remove it from the Applications folder and reopen Final Cut Pro. Work with metadata Intro to metadata in Final Cut Pro You can view and change the information associated with a clip, referred to as a clip’s metadata. Metadata includes information about a clip’s source media files as well as information you add to a clip, such as notes. Final Cut Pro User Guide 845 In Final Cut Pro, you work with three types of metadata: • Exchangeable Image File (EXIF) data: Information recorded by the camera and stored in the media at the time it was shot, such as camera make and model, file size, color profile, and bits per sample. • International Press Telecommunications Council (IPTC) data: Standardized data used by media organizations to embed keywords, captions, copyright notices, and other information in the media files themselves. • Final Cut Pro metadata: Data you apply to clips within Final Cut Pro, such as clip name, ratings, and keywords. You can create your own combinations of metadata, called metadata views, to display with your clips. You can either create new metadata views or modify the ones that come with Final Cut Pro. See Modify metadata views. View and change clip metadata in Final Cut Pro You can use the Info inspector to view and change the metadata for a clip or group of clips selected in the browser or timeline. The Share inspector also displays metadata that is exported with a shared clip or project. See Change metadata for shared items. View a clip’s metadata 1. Select one or more clips in the Final Cut Pro browser or timeline. Final Cut Pro User Guide 846 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Metadata for the selected clip or group of clips is displayed in fields in the Info inspector. Switch metadata views in the Info inspector You can change the metadata fields shown in the Info inspector. 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose a metadata view. Note: If you create custom metadata views, they also appear in the pop-up menu. Final Cut Pro User Guide 847 Change a clip’s metadata 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector, then choose a metadata view that contains fields for the metadata you want to change. 4. Do one of the following: • Click in a text field to make it active, then enter the text you want to include. Note: If you can’t click in a text field, it means the field can’t be edited. Some EXIF metadata fields, for example, can’t be edited. • Click the pop-up menu for the metadata you want to change, then choose an option. Tip: You can also change the Content Created date and time of your source clips in the browser. Just select one or more clips, then choose Modify > Adjust Content Created Date and Time. Rearrange the fields in a metadata view 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Drag the metadata labels into a different order. Modify metadata views in Final Cut Pro You can create new metadata views or modify the ones that come with Final Cut Pro. Create a new metadata view 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Edit Metadata View. 5. In the Metadata Views window that appears, click the Action pop-up menu in the bottom-left corner and choose New Metadata View. 6. Enter a name for the new metadata view, then press Return. Final Cut Pro User Guide 848 7. To limit the number of properties to a specific group, such as EXIF or video properties, click the Properties pop-up menu at the top of the window and choose a property group. 8. To add a property to the metadata view, select the checkbox to the left of the property. 9. When you’re satisfied with the metadata fields assigned to the metadata view, click OK. The new metadata view is added to the Metadata View pop-up menu in the Info inspector. Modify an existing metadata view You can change the combination of metadata that appears in a metadata view. You can rename metadata fields, add or remove metadata fields, create custom metadata fields, and rearrange the order in which the metadata fields are displayed. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose Edit Metadata View. 4. In the Metadata Views window, select the metadata view you want to change, then do any of the following: • Rename the metadata view: Double-click the metadata view name in the column on the left, enter a new name, then press Return. • Remove properties (metadata fields) from the metadata view: In the Property column, deselect checkmarks to the left of the properties you want to remove. • Add properties (metadata fields) to the metadata view: In the Property column, select the checkboxes to the left of the properties you want to add. • Add a custom property (metadata field) to the metadata view: Click the Action popup menu in the bottom-left corner, choose Add Custom Metadata Field, enter a name and description for the new property, then click OK. Final Cut Pro User Guide 849 5. When you’re satisfied with the metadata fields assigned to the selected metadata view, click OK. Duplicate a metadata view If you want to create a new metadata view that contains most of the metadata fields in an existing metadata view, you can save time by duplicating the existing metadata view and then modifying it. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner, choose the metadata view you want to duplicate, then click the Metadata View pop-up menu again and choose Save Metadata View As. 4. In the window that appears, enter a name for the new metadata view and click OK. The new metadata view appears in the Metadata View pop-up menu in the Info inspector. You can modify the new metadata view as needed. Delete a metadata view 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose Edit Metadata View. 4. In the Metadata Views window, select the metadata view you want to delete in the column on the left, then click the Action pop-up menu in the bottom-left corner and choose Delete Metadata View. The metadata view is removed from the left column of the Metadata Views window and from the Metadata View pop-up menu in the Info inspector. Note: Deleting a metadata view does not delete metadata applied to a clip or its source media. Batch rename clips in Final Cut Pro When you import media into Final Cut Pro, the clips often contain meaningless names, such as those assigned by the camera. Although you can rename clips individually, you can also rename a selection of clips as a batch in the browser, after the media has been imported. Final Cut Pro provides customizable naming presets that make renaming large numbers of clips efficient and easy. Batch rename clips using a naming preset 1. In the Final Cut Pro browser, select the clips you want to rename. Final Cut Pro User Guide 850 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. In the Info inspector, click the Apply Custom Name pop-up menu and choose a naming preset. The clips selected in the browser are renamed. Create a new naming preset If the naming presets that come with Final Cut Pro don’t meet your needs, you can create a new naming preset and customize it. Tip: The easiest way to create a new naming preset is to duplicate an existing one. See Duplicate an existing naming preset, below. 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose New. 4. In the Naming Presets window, double-click Untitled, type a name for the new preset, then press Return. The new naming preset appears in the Apply Custom Name submenu of the Action pop-up menu. Duplicate an existing naming preset The simplest way to create a new naming preset is to duplicate an existing preset—one that contains most of the name format options you want to include—and modify it. 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. Final Cut Pro User Guide 851 4. In the Naming Presets window, Control-click the preset you want to duplicate, then choose Duplicate. The duplicate naming preset appears below the original preset. 5. Enter a name for the duplicate preset, then press Return. You can now modify the preset to suit your needs. Modify an existing naming preset 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. 4. In the Naming Presets window, add naming tokens—metadata elements you can use to create a naming preset—by dragging them from the Clip Info, Date/Time, Format, and Camera areas to the Format field. To remove a naming token, select it in the Format field and press Delete. 5. Rearrange the tokens in the Format field by dragging them into new positions. 6. If you like, add text characters, such as underscores (_) and spaces, between naming tokens in the Format field. 7. When you’re satisfied with the naming preset’s new format, click OK. Final Cut Pro User Guide 852 Remove a naming preset 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. 4. In the Naming Presets window, select the naming preset you want to remove, then click the Remove Presets button (with a minus sign). The naming preset is removed from the Naming Presets window. Use color and gradient controls Intro to color and gradient controls in Final Cut Pro The color and gradient controls appear in an inspector when you have the option to apply a custom color or gradient to a selected item, such as a title or generator in your project. Use color controls to set the color of objects such as shapes, text, and gradients. Use the gradient editor to to change gradient parameters, such as color, opacity, direction, and so on. Color controls Basic color controls in Final Cut Pro Before you expand the color controls, you see the following: • Color well: A small color swatch that, when clicked, opens the macOS Colors window. See Pick a color in the Colors window. You can also click the downward arrow or Control-click the color well to open the pop-up color palette. See Use the pop-up color palette. • Disclosure triangle: A control that, when clicked, reveals individual Red, Green, Blue, and, when applicable, Opacity sliders. See Use expanded color controls. Final Cut Pro User Guide 853 Use the pop-up color palette in Final Cut Pro Use the pop-up color palette to select a color from the spectrum of hues, saturation, and lightness. You can also select a grayscale value. 1. In Final Cut Pro, Control-click a color well, or click the adjacent downward arrow. 2. In the pop-up color palette, do one of the following: • Select a color from the spectrum of hues, saturation, and lightness: Click in the top area. • Select a grayscale value: Click in the bottom gradient. As you move the pointer over either area, the pointer becomes an eyedropper, the column on the right displays the RGB and HSL values for the sampled colors, and two swatches above the RGB information display the current and sampled colors. As you sample in the spectrum, the selected object is updated in the viewer. Use the Colors window in Final Cut Pro You can use the macOS Colors window in Final Cut Pro, giving you access to the familiar color pickers such as the Spectrum palette or the Pencils palette. Final Cut Pro User Guide 854 The Colors window has four sections: the icons at the top select picker interfaces; the large color swatch shows the current color; the middle section shows the active picker; and the row of boxes can be used to save swatches. Show the Colors window • Click a color well in Final Cut Pro. Pick a color in the Colors window Do one of the following: • Click a color in the color picker area. • Click the eyedropper, then click anywhere on the computer screen to choose a color. The color you click in the Colors window loads into the well, and the selected item changes color. Save a color to the saved swatch area in the Colors window 1. Select a color in the picker or by using the eyedropper. 2. Drag the color from the large swatch to a white square at the bottom of the Colors window. Colors saved in this area remain accessible across applications and restarts. Use expanded color controls in Final Cut Pro Sometimes you need precise numerical control over colors. You might also need to match two colors exactly or adjust a color channel independently. Every set of color controls has a disclosure triangle, which, when clicked, reveals sliders for the Red, Green, and Blue color channels. You can choose or fine-tune a color by adjusting these sliders. Among other uses, these controls are handy when you need to keyframe each color channel differently. Final Cut Pro User Guide 855 Gradient controls Intro to the gradient editor in Final Cut Pro Many titles and generators that can be filled with a color can also be filled with a gradient. Like color controls, gradient controls are a group of settings that can be expanded for more precise control. Change gradient colors in Final Cut Pro You can use the gradient controls to create gradients in titles and generators. Change the colors in a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. To change the color of a color tag in the gradient editor, do one of the following: • Double-click a color tag. The Colors window appears. Use the Colors window to set a color for the tag. Final Cut Pro User Guide 856 • Click a color tag, then adjust the Red, Green, and Blue color channel sliders. • Click the down arrow next to the color well to display the pop-up color palette. When you move the pointer over the color palette, the pointer becomes an eyedropper. Click in the top area to select a color, or click in the bottom gradient to set the tag to a grayscale value. Change the opacity in a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click an opacity tag. The Opacity slider becomes available. 4. Use the Opacity slider or adjacent value slider to change the level of transparency. The gradient reflects the new opacity values. The lower the percentage of opacity, the greater the transparency. Final Cut Pro User Guide 857 Add or remove a color tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, position the pointer in the lower gradient bar where you want to add the new color, then click. A new color tag is added to the gradient. Add an opacity tag to a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, position the pointer in the opacity bar (the top bar) where you want to add the tag, then click. A new opacity tag is added to the gradient. Until the value is adjusted, the gradient opacity is 100%. Remove a color or opacity tag from the gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, drag the tag away from the gradient bar. Reverse gradient direction in Final Cut Pro You can reverse the direction of gradients in titles and generators, or evenly distribute the gradient color and opacity tags. Reverse the gradient color or opacity direction 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the reverse tags icon next to the opacity or color bar. The tags are reversed. Final Cut Pro User Guide 858 Evenly distribute the gradient color or opacity tags 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the distribute tags icon next to the opacity or color bar. Change the direction of a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, use the Start and End value sliders to change the direction of the gradient. Move and copy gradient tags in Final Cut Pro You can manipulate tags in the gradient editor to create custom gradients in titles and generators. Move the position of a color or opacity tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the color or opacity tag you want to move. 4. Do one of the following: • Drag the color or opacity tag left or right. • Use the Location slider (or adjacent value slider) to modify the position of the selected tag. A value of 100% is the rightmost position of the gradient, and a value of 0% is the leftmost position of the gradient. Duplicate a color or opacity tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, Option-drag the tag to a new position. Change the transition midpoint between adjacent color or opacity tags 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. Final Cut Pro User Guide 859 3. In the gradient editor, drag the small triangle between adjacent color tags or opacity tags to change the point where one tag’s effect ends and the next tag’s effect begins. The closer the middle control is to a tag, the sharper the color or opacity transition. Note: The middle control does not appear for color or opacity tags set to Linear or Constant. Change the color or opacity tag interpolation 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, Control-click a tag and choose either Constant, Linear, or Continuous. Basic gradient controls in Final Cut Pro Before you expand the gradient controls, you see the following in the inspector in Final Cut Pro: • Gradient preview bar: A horizontal bar that displays the currently selected gradient • Disclosure triangle: A control that, when clicked, expands to show the gradient editor Gradient editor controls in Final Cut Pro In Final Cut Pro, use the advanced gradient controls to make precise adjustments to gradients applied to selected items (such as titles and generators). Final Cut Pro User Guide 860 To customize or modify a gradient, click the disclosure triangle in the Gradient row of the inspector to reveal the advanced gradient controls: • Graphical controls: Three horizontal bars that let you set and preview the opacity, color, and spread of a gradient. The narrow, white top bar (the opacity bar) controls opacity and transparency in the gradient. Adjust the spread of opacity across the gradient by dragging one of the small box-shaped opacity tags horizontally along the bar. Click in the opacity bar to add opacity tags, creating a gradient with varying levels of transparency. Delete an opacity tag by dragging it away from the color bar. Change the value of an opacity tag by selecting it and dragging the Opacity slider (described below). Opacity tags have a value range of 0% (completely transparent) to 100% (completely opaque). Adjust the transition between two opacity tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). By default, the opacity of a gradient applied to text is 100%. The wide middle bar shows a preview of the current gradient. The narrow bottom bar (the gradient bar) controls color in the gradient. Adjust the spread of color across the gradient by dragging one of the small box-shaped color tags horizontally along the bar. Click in the gradient bar to add more color tags. Delete a color tag by dragging it away from the gradient bar. Change the value of a color tag by selecting it and choosing a color from the color well below, or by double-clicking the tag and choosing a color from the Colors window. Adjust the transition between color tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). Selecting a color tag activates the Color and Location controls (described below). Selecting an opacity tag activates the Opacity slider (described below). Selecting a middle control activates the Middle slider (described below). • Color: A color well and eyedropper that sets the hue of a selected color tag in the gradient bar. For more information about color wells, see Basic color controls. • Opacity: A slider that sets the transparency of a selected opacity tag in the opacity bar. Values range from 0% (completely transparent) to 100% (completely opaque). • Interpolation: A pop-up menu that sets the interpolation of a selected color tag or opacity tag. There are three options: • Linear: Creates a uniform distribution of opacity or color between the tags. • Continuous: Sets an adjustable rate of change between adjacent opacity or color tags. Adjust the rate of change by dragging a middle control in the opacity bar or gradient bar, or by dragging the Middle slider (described below). Final Cut Pro User Guide 861 • Constant: Creates a constant color distribution from the color or opacity tag, moving from left to right in the gradient. For example, if the left color tag is set to Constant, the area of the gradient between that tag and the next one to the right is a single, solid color. • Location: A slider that adjusts the location of a selected opacity tag or color tag. • Type: A pop-up menu that lets you choose a linear or radial gradient. • Start: Value sliders that set the start position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X start position of the gradient. • Y: Controls the Y start position of the gradient. • End: Value sliders that set the end position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X end position of the gradient. • Y: Controls the Y end position of the gradient. Note: The Start and End parameters do not appear in standard text gradients. Final Cut Pro User Guide 862 • Angle: When the Type pop-up menu is set to Linear, this dial specifies the direction of a linear gradient. This parameter appears only for standard text gradients. Download Final Cut Pro sound effects and Pro Video Formats Final Cut Pro includes free supplemental content and advanced video formats for use in your projects. You can download them after you install Final Cut Pro. The Final Cut Pro supplemental content includes: • Over 1300 royalty-free sound effects you can access from the Photos and Audio sidebar in Final Cut Pro • Additional preset effects for the Space Designer plug-in For information about using the Space Designer plug-in included with Final Cut Pro, see Final Cut Pro Logic Effects. Pro Video Formats enables Final Cut Pro, Motion, and Compressor to work with a variety of professional video formats, including Apple ProRes codecs and MXF files. 1. Install Final Cut Pro from the Mac App Store. Shortly afterward, the additional content becomes available for download. 2. Choose Final Cut Pro > Download Additional Content. The Software Update pane of System Preferences opens, showing Final Cut Pro Supplemental Content and Pro Video Formats as available updates. 3. Do one of the following: • Install all updates available for your Mac: Click Update Now. • Install selected updates: Click “More info” to see a list of updates, select the checkboxes for the updates you want, then click Install Now. If you’re not sure whether Pro Video Formats has been installed, see Verify installation of Pro Video Formats. Final Cut Pro User Guide 863 For information about permitted use of the content, see the Final Cut Pro Software License Agreement. Final Cut Pro User Guide 864 Glossary 4:3 The aspect ratio for standard-definition (SD) broadcast video. The ratio of the width to the height of the visible area of the video frame is 4:3, or 1.33. See also standard-definition (SD). 16:9 A widescreen aspect ratio for video. The ratio of the width to the height of the visible area of the video frame is 16:9, or 1.78. The 16:9 aspect ratio is used for high-definition (HD) video. See also high-definition (HD). AAC (Advanced Audio Coding) Also called MPEG-4 Audio. A standard way of compressing and encoding digital audio. AAC-encoded files rival the quality of audio CDs and generally sound as good as or better than MP3 files encoded at the same or even a higher bit rate. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) A Dolby Digital compressed audio format often used for encoding surround sound. AIFF (Audio Interchange File Format) A cross-platform audio file format developed by Apple. Like WAV files, AIFF files contain “chunks” of information, such as the Sound Data Chunk, which contains the actual sample data, and the Common Chunk, which contains sample rate and bit depth information. alpha channel An image channel in addition to the R, G, and B (red, green, and blue) color channels that is used to store transparency information for compositing. Alpha channels are often 8-bit, but some applications support 16-bit alpha channels. In Final Cut Pro, black represents 100 percent transparency, and white represents 100 percent opacity. Only certain formats support alpha channels. Examples are Targa, TIFF, PNG, PSD, Apple ProRes 4444, and the QuickTime Animation codec. See also compositing, RGB. angle editor You can open multicam clips in the angle editor to adjust the sync and the angle order, or to add or delete angles. You can also use the angle editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). See also multicam clip. angle viewer A viewer used to watch all angles of a multicam clip simultaneously while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. See also multicam clip. animation editors See Audio Animation editor, Video Animation editor. Final Cut Pro User Guide 865 Apple ProRes Apple codecs that provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reducedresolution decoding modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, 4K, and 6K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. See also frame rate, resolution. Apple ProRes 4444 XQ The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by the highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. Apple ProRes 4444 An extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y'CbCr pixel formats. Apple ProRes 422 HQ A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, realtime editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 LT A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 Proxy An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps. Final Cut Pro User Guide 866 Apple ProRes RAW The Apple ProRes RAW and Apple ProRes RAW HQ codecs preserve all of the camera sensor’s pristine raw data to deliver extraordinarily high-quality images. ProRes RAW brings to raw video the same great performance, quality, and ease of use that ProRes has brought to conventional video, in a format ideal for HDR content creation. Being able to use the raw image sensor data directly in Final Cut Pro during post-production gives you more control over the processing of the image, including demosaicing, linear-tolog conversions, and custom LUTs. aspect ratio A film or video frame’s width-to-height ratio on any viewing screen. Standard-definition (SD) video (used for regular television screens) has an aspect ratio of 4:3. High-definition (HD) video has an aspect ratio of 16:9. Audio Animation editor You can show the Audio Animation editor for clips in the timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. See also keyframe, Video Animation editor. audio components Audio files can contain a single audio channel or multiple audio channels. Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to view and edit audio components down to the individual channel level. audio sample rate The number of times an audio signal is measured, or sampled, per second. A higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. Audio Units The standard real-time audio effect format for audio applications used with macOS. audio waveforms Visual representations of the actual sound. An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. audition In Final Cut Pro, you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Auditions appear in the browser and timeline as clips with an audition icon in the top-left corner. automatic audio sync The “Use audio for synchronization” option in the multicam clip creation process makes precision sync adjustments using audio waveforms in the angles of a multicam clip. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. See also compound clip, multicam clip. AVCHD A high-definition (HD) video format that uses Advanced Video Coding (AVC) compression (also known as MPEG-4 part 10 or H.264). Many Blu-ray players can play red laser discs with AVCHD format content, making this a common way to distribute short HD video projects using a standard red laser disc. Background Tasks window A window in Final Cut Pro that shows the progress of importing, transcoding, analysis, rendering, sharing, and other tasks performed in the background. Final Cut Pro User Guide 867 batch Compressor uses a batch to contain one or more source media files that you want to convert, or transcode, to another format. Each source media file creates its own job. This means that a batch can contain multiple jobs, with each job based on its own source media file. Each job also has at least one setting that defines the format of the transcoded file. See also source media files. batch share A feature in Final Cut Pro that allows you to share multiple projects, clips, or ranges in a single export. Bezier curve A parametric curve used to create smooth movement for keyframes and animated objects and to create precise, detailed mask shapes. Bezier curves contain two kinds of points: smooth points with handles that can be manipulated to curve the adjacent line segment, and corner points that have no handles and therefore have straight (or linear) adjacent line segments. bit rate The number of bits that are processed or transmitted per unit of time. The higher the bit rate, the better the quality. However, higher bit rates require larger file sizes. Blade tool The editing tool that allows you to cut clips in the timeline. You can select the Blade tool by pressing the B key. blue laser media Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue laser has a shorter wavelength than the red laser used for DVDs, making it possible to store more data on a disc. See also red laser media. blue or green screening See chroma key. broadcast-safe Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video exceeds these limits, distortion can appear, resulting in unacceptable transmission quality. You can use the Final Cut Pro video scopes to make sure that the luma and chroma levels you set stay within acceptable limits. See also chroma, luma. B-roll A term used to describe alternative footage shot to intercut with the primary shots used in a program. B-roll is frequently used for cutaway shots. See also cutaway shot. browser The browser displays clips, projects, photos, titles, or generators for the item selected in the sidebar (such as an event containing clips, or a category of sound effects or 3D titles). You select items in the browser to work with them. You can sort or group items in the browser by creation date, name, and duration. You can also view your clips as filmstrips or in a list. See also sidebar. burn in To make a visible and permanent change to an output media file. For example, titles are burned in. In contrast, captions can be included in the output media file without being permanently visible in the video image. BWF (Broadcast Wave Format) An extension of the WAV file format that includes additional metadata such as timecode and production information. CAF (Core Audio Format) Apple’s Core Audio Format (CAF) is a flexible file format for storing and manipulating digital audio data. It is fully supported by Core Audio APIs on Mac OS X 10.4 or later and on Mac OS X 10.3 with QuickTime 7 or later. CAF provides high performance and flexibility, and is scalable to future ultra-high-resolution audio recording, editing, and playback. Final Cut Pro User Guide 868 CEA-608 Also known as EIA-608. A caption standard for broadcasts and web video. The CEA-608 caption standard features a variety of position, formatting, color, and animation options. CEA-608 captions can be imported or exported as separate files or as tracks embedded in a media file. CEA-608 caption files have the filename extension .scc. chroma The color information contained in a video signal, consisting of hue, which represents the color itself, and saturation, which represents the intensity of the color. chroma key A special effects technique that allows you to derive an alpha channel or matte from the blue or green background of a video clip in order to make it transparent (so that it can be composited against other clips). Blue- or green-screen technology is what makes weather forecasters appear to be standing against an animated map, when in reality they’re standing in front of a blue or green wall. Also known as blue or green screening. See also alpha channel. chromaticity The exact values a display uses to represent each of the three primary colors. Different displays use different primary values. Because all colors represented by a particular display are a mix of the three primary colors, if the three primary points vary from display to display, the entire gamut of color shifts. Cinematic Editor An interface for viewing and adjusting focus points in Cinematic mode video clips in the Final Cut Pro timeline. The Cinematic Editor shows automatic focus points as white dots and manual focus points as yellow dots with a ring around them. clip The term used to describe a video or audio asset, especially after it has been imported into Final Cut Pro. Clips appear in the browser and the timeline. Clips in Final Cut Pro point to (link to) source media files stored on your Mac or a connected storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in Final Cut Pro. This is known as nondestructive editing. clipping Distortion occurring during the playback or recording of digital audio because of a signal that exceeds the maximum sample value of 0 dBFS. clip selection A selection of whole clips in the browser or the timeline. In contrast to a range selection, a clip selection is limited to clip boundaries. You can’t adjust a clip selection to include portions of clips. However, you can add or remove whole clips. codec Short for compressor/decompressor, or encode/decode. A software component used to translate video or audio from its current form to the digital compressed form in which it is stored on a computer or storage device. DV, Photo JPEG, and Apple ProRes are common QuickTime video codecs. color balance Refers to the mix of red, green, and blue in a clip. In Final Cut Pro, you can adjust the color balance of the highlights (bright areas), midtones, or shadows (dark areas) of your clip. color bars A standard color test signal displayed as columns, often accompanied by a reference audio tone. Color bars are used to adjust the video signal of the incoming source to maintain proper color from import through output. Color Board The Color Board allows you to manually adjust a clip’s color properties. It contains separate panes for adding or subtracting a color tint, controlling the intensity of the color, and controlling the brightness of the video. In addition to an overall control, each pane has individual controls for the highlight, midtone, and shadow areas of the image. color cast An unwanted color tint in the image, usually caused by lighting issues. Final Cut Pro User Guide 869 color correction A process in which the color of clips used in an edited program is evened out so that all shots in a given scene match. Color correction is generally one of the last steps in finishing an edited program. The color correction tools in Final Cut Pro give you precise control over the look of every clip in your project by allowing you to adjust the color balance, black levels, midtones, and white levels of individual clips. color difference In video formats that store color information in the Y'CbCr color space, color channels are derived by subtracting Y (luma) from the R (red) and B (blue) signals and are sometimes referred to generally as B-Y and R-Y. See also Y'CbCr. Color inspector You use the Color inspector to perform manual color corrections using the four color correction effects: Color Board, Color Wheels, Color Curves, and Hue/Saturation Curves. compositing A process in which two or more images are combined into a single frame. This term can also describe the process of creating various video effects. compound clip You can use compound clips to group any combination of clips in the timeline or the browser and nest clips within other clips. You can open any compound clip, edit its contents in the timeline, and then close it. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project settings. Compound clips function just like other clips: You can add them to your project, trim them, retime them, and add effects and transitions. compression The process by which video, graphics, and audio files are reduced in size. “Lossy” compression refers to a process of reducing video file sizes through the removal of redundant or less noticeable image data. Lossless compression reduces file sizes by mathematically consolidating redundant image data without discarding it. connected clip Connected clips are attached to clips in the primary storyline in the timeline. They’re useful for cutaway shots, superimposed or composited images, and sound effects. Connected clips remain attached and synced until you explicitly move or remove them. A sequence of connected clips is a storyline. See also cutaway shot. contrast The difference between the lightest and darkest values in an image. Highcontrast images have a large range of values from the darkest shadow to the lightest highlight. Low-contrast images have a more narrow range of values, resulting in a “flatter” look. corner point A point with no curves applied in a Bezier path. Adjacent line segments are linear. See also Bezier curve. cross dissolve A common type of video transition, in which the first shot fades out while the second shot simultaneously fades in. During the cross dissolve, the two shots are superimposed as they fade. crossfade A common type of audio transition, in which the first shot’s audio fades down while the second shot’s audio simultaneously fades up. During the crossfade, audio from both shots is heard. cut An edit in which one clip immediately follows another, with no transition effect. This is the simplest type of edit. Final Cut Pro User Guide 870 cutaway shot A shot that is related to the current subject and occurs in the same time frame (for example, an interviewer’s reaction to what’s being said in an interview). Often, a cutaway shot is used to eliminate an unwanted visual section of another shot. The audio usually remains continuous during the cutaway, helping to make the edit less noticeable. data rate The speed at which data can be transferred, often described in megabytes per second (MB/sec.) or megabits per second (Mbps). The higher a video file’s data rate, the higher quality it is, but the more system resources (processor speed, storage space, and performance) it requires. Some codecs allow you to specify a maximum data rate for a movie during capture. decibel (dB) Unit of measurement for sound levels; a logarithmic scale used to describe the loudness of sound as perceived by the human ear. (1 dB corresponds approximately to the smallest volume change that the average human ear can perceive.) For digital audio, dBFS is the standard decibel unit of sound level measurement. depth of field The distance between the closest and farthest elements in a scene that appear “sharp” (in focus). destination A set of preconfigured export settings that you can use to share a project or clip from Final Cut Pro. Destinations make it easy to export your movie for viewing on Apple devices such as iPad and iPhone, add your movie to video-sharing websites, or burn your movie to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. You add and modify destinations in the Destinations pane of Final Cut Pro preferences. Disk Utility An Apple app that performs disk-related tasks in macOS. It’s located in the Utilities folder inside the Applications folder. downmixing The process used to combine multiple audio channels into a single stereo (or dual mono) pair. Also referred to as mixing down. downstream Refers to clips to the right of the current clip in the timeline. When you perform actions that ripple the project, downstream clips are affected; upstream clips are not. See also ripple edit, upstream. drop frame timecode NTSC timecode that skips ahead in time by two frame numbers each minute, except every tenth minute, so that the timecode agrees with the actual elapsed clock time. (Timecode numbers are skipped, but actual video frames are not skipped.) This skipping corrects for NTSC’s actual frame rate of 29.97 fps, which causes non-drop frame timecode to lag behind actual elapsed time by 3 seconds and 18 frames per hour. To avoid confusion, drop frame timecode should be avoided in film-based productions. See also non-drop frame timecode. drop shadow An effect that creates an artificial shadow behind an image. Typically used with graphics and text. DV A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). DV supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. DVCAM A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). DVCAM supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. Final Cut Pro User Guide 871 DVCPRO A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal using 4:1:1 color sampling (PAL uses 4:2:0). DVCPRO supports two tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO50 A standard-definition (SD) digital videotape recorder format that records an 8-bit, 3.3:1 compressed component video signal with 4:2:2 color sampling. DVCPRO50 supports four tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO HD A high-definition (HD) video format that records an 8-bit, compressed component video signal with 4:2:2 color sampling. Both 720p and 1080i are supported. DVCPRO HD includes up to eight tracks of audio with 16-bit, 48 kHz audio sampling. The total data rate is 115 Mbps. DVD A disc that is the size of a CD but that uses higher-density storage methods to significantly increase its capacity. Although usually used for video distribution, DVD-ROM discs can also be used to store computer data. dynamic range The difference, in decibels, between the loudest and softest parts of a recording. ease in An effect in which an object in motion decelerates slowly until it comes to a stop, rather than ending its movement abruptly. This simulates the effect of friction in the real world and generally creates a more natural, organic-looking effect than a linear movement would. ease out An effect in which an object in motion accelerates from its starting position slowly rather than beginning its movement at full speed. This simulates the effect of inertia and friction in the real world and generally creates a more natural, organic-looking effect than a linear movement would. editing tools A group of seven tools you can use when working in the timeline: Select tool, Trim tool, Position tool, Range Selection tool, Blade tool, Zoom tool, and Hand tool. When you choose a tool, the pointer changes to the icon for that tool. edit point Edit points define the part of a clip you want to use in an edited project. Edit points include start points, which specify the beginning of a section of a clip or project, and end points, which specify the end of a section of a clip or project. An edit point is also a point in the timeline where the end point of one clip meets the start point of the next clip. This edit point can be selected for various operations. Effects browser A media browser in Final Cut Pro that contains video and audio clip effects. embedded captions CEA-608 captions that are included in the output media file. Viewers can turn embedded captions on or off while watching TV shows, movies, web videos, and other programs. In contrast, titles and burned-in captions are always permanently visible in the output media file. equalization An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by changing the level of specific frequency bands. Equalization is one of the most commonly used audio processes, both for music projects and in video post-production work. You can use EQ to subtly or significantly shape the sound of an audio file, instrument, or project by adjusting specific frequencies or frequency ranges. equirectangular projection A display of 360° video that shows all parts of a threedimensional sphere flattened in a video frame, similar to world maps that depict the globe as a two-dimensional rectangle. Final Cut Pro User Guide 872 event When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) are stored in events. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images, as well as projects. Each event in the library refers to media on your Mac or a storage device, and a database file keeps track of where everything is. event viewer A separate video display that appears next to the main viewer and is used to play clips from the browser only. exposure The amount of light in video or film images. Exposure affects the overall brightness of the image as well as its perceived contrast. fade A common type of transition in both video and audio. For video, a fade-out begins with a shot at full intensity and reduces until it is gone. A fade-in begins with a shot at no intensity and increases to full intensity. These are the common “fade to black” and “fade up (from black)” transitions. Audio fade-ins begin with silence and increase to full volume, and fade-outs begin at full volume and decrease to silence. filmstrip Your video clips appear as filmstrips in the timeline (where you build projects) and in the browser (where your source clips are displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. FireWire The trademarked Apple name for the IEEE 1394 standard. A fast and versatile interface used to connect DV camcorders to computers. FireWire is well suited to applications that move large amounts of data, and it can also be used to connect external storage devices, scanners, and other kinds of computer peripherals. See also Thunderbolt. Foley effects Custom sound effects that are heavily synced to picture, such as footsteps on different surfaces, clothes rustling, fight sounds, and the handling of various noisy objects. Final Cut Pro includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. See also connected clip. frame A single still image. Film and video are made up of a series of these images. Although a film frame is a single photographic image, an interlaced video frame contains two fields. See also interlaced video, non-interlaced video. frame blending Duplicating frames to create slow motion can result in a strobing, jittery effect. To minimize this, you can turn on Frame Blending in the Retime pop-up menu below the viewer. Frame blending creates new in-between frames, each a composite of two neighboring frames. frame rate The number of images photographed per second for a video clip. frame size See resolution. frequency The number of times a sound or signal vibrates each second, measured in cycles per second, or hertz (Hz). Audio recordings are made up of a vast collection of waveforms, using many different frequencies of sound. Each frequency in a recording is associated with an audio pitch. For example, the note generated by each key of a piano has a specific frequency. See also pitch. gain The amount an audio or video signal is boosted. In video, this increases the white level; in audio, this increases the volume. Final Cut Pro User Guide 873 gamma A curve that describes the intensity of an image. Gamma is a nonlinear function often confused with brightness or contrast. Gamma adjustment is often used to compensate for differences between Mac and Windows video graphics cards and displays. gamut The gamut of a particular display device represents the total range of colors that can be displayed on that device. Some types of displays are capable of displaying a greater range of colors than others. Furthermore, different video and film standards specify different color gamuts; colors that may be easily represented by one imaging medium are out of bounds for another. gap clip A blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Gap clip color is determined by the current background color in Final Cut Pro. You can adjust the background color using the Player Background pop-up menu in the Playback pane of Final Cut Pro preferences. generators Clips that are synthesized by Final Cut Pro. Generators can be used as different kinds of backgrounds, titles, and elements for visual design. Hand tool The editing tool that allows you to scroll in the timeline. You can select the Hand tool by pressing the H key. H.264 H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a video compression standard in widespread use for recording, distribution, and internet streaming of highdefinition (HD) video. HDCAM A high-definition (HD) digital videotape recorder format that records an 8-bit, 7.1:1 DCT-compressed component video signal with 3:1:1 color sampling. HDCAM supports four tracks of audio and is recorded using 1/2-inch tape. HDV A format for recording high-definition (HD) video on DV tape. HDV uses MPEG-2 video compression with 8-bit samples and 4:2:0 chroma subsampling. HDV has a video bit rate of 18.3 Mbps for 720p (1280 x 720) and a bit rate of 25 Mbps for 1080i (1440 x 1080). HEIF (High Efficiency Image File Format) A container format for storing still images and image sequences, defined by MPEG-H Part 12 (ISO/IEC 23008-12). HEIF was developed by the Moving Picture Experts Group (MPEG) and can store images encoded using the HEVC (High Efficiency Video Coding) compression standard. HEVC (High Efficiency Video Coding) A video compression standard; also known as H.265 and MPEG-H Part 2. high-definition (HD) Refers to video with a higher resolution than standard-definition (SD) NTSC or PAL video. The most common HD resolutions are 1280 x 720 (720p) and 1920 x 1080 (1080i or 1080p). See also NTSC format, PAL format, standard-definition (SD), ultrahigh-definition (UHD) high dynamic range (HDR) High-dynamic-range (HDR) images have a greater range of luminance (extra levels of brightness) than do standard-dynamic-range (SDR) images. HDR can represent luminances as high as 10,000 nits (candelas per square meter) with a dynamic range of 14 stops or more, creating more realistic color transitions and revealing more detail in both shadows and highlights. histogram A video scope in Final Cut Pro that provides a statistical analysis of the image by graphing the number of pixels at each percentage of luma or color. It’s useful for comparing two clips in order to match their brightness values more closely. See also luma. Final Cut Pro User Guide 874 HLG (Hybrid Log-Gamma) One of the two supported systems in the ITU-R Rec. 2100 standard for high-dynamic-range (HDR) video. The HLG transfer function relates image signal values to scene-relative light levels and is compatible with standard-dynamic-range (SDR) displays without the need for metadata. HLG was developed by the BBC and NHK broadcasting networks. hue An attribute of color perception, also known as color phase. Red, blue, yellow, and green are all hues. import The process of bringing media files of various types into events in Final Cut Pro. You can import files from connected camcorders and other devices, other apps, or connected storage devices. See also event, source media files. IMX A standard-definition (SD), all-I-frame MPEG-2 format stored on tape, XDCAM optical disc, or storage device. Some IMX decks can play back and convert formats such as Digital Betacam, Betacam SX, and Betacam SP to IMX. The data rate of IMX can be set to 30, 40, or 50 Mbps. incoming clip The clip to which a transition segues. For example, if clip A dissolves to clip B, clip B is the incoming clip. See also outgoing clip. Info inspector A Final Cut Pro inspector that displays information (called metadata) about a clip or group of clips selected in either the browser or the timeline. You can display different combinations of metadata with your clips, such as codecs, media start and end times, reel, scene, take, EXIF information, and IPTC information. You can also use the Info inspector to change the metadata for a selected clip or group of clips, and you can create custom sets of metadata for display using the Metadata Views window, accessed from the Info inspector. You also use the Info inspector to display and access project settings. See also inspectors. In point See edit point. insert edit A type of edit that places the source clip so that all clips after the insertion point are moved forward (or rippled) in the timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. inspectors Final Cut Pro provides a number of inspectors you can use to view and change the attributes of selected items. For example, you can adjust video effects in the Video inspector. Other inspectors include the Audio, Info, Transition, Title, Text, Generator, Library Properties, and Share inspectors. The inspectors appear in the top-right corner of the Final Cut Pro window. interlaced video A scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. IRE An analog video signal unit of measurement for luma, established by the Institute of Radio Engineers. See also luma. iTT (iTunes Timed Text) A format for delivering caption content to the iTunes Store. The iTT caption standard features formatting, color, and placement options, including a wider range of alphabets, making it the best choice for languages with non-Roman characters. iTT captions can be imported or exported as separate files. iTT caption files have the filename extension .itt. J-cut See split edit. Final Cut Pro User Guide 875 job Each media file added to a batch in Compressor is a job. Each job has one media file and one or more settings that define the type of file to render. See also batch, source media files. JPEG A popular image file format that lets you create highly compressed graphics files. The amount of compression used can vary. Less compression results in a higher-quality image. keyframe A control that denotes the value of a video or audio effect parameter at a particular point in the project. When two keyframes with different values are set in Final Cut Pro, a transition from one value to another is calculated, resulting in a dynamic change to that parameter. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. After the keyframes were determined, an in-between artist drew all the frames between the keyframes. keying See chroma key, luma key. Keyword Collection When you apply a keyword to a clip, a Keyword Collection is automatically created in the event in the library. When you select the Keyword Collection, each clip tagged with that keyword is displayed in the browser. See also event, keywords. keywords Keywords add descriptive information to a clip or clip range. You can use keywords to organize, sort, and classify media. You can add keywords to a clip manually, and Final Cut Pro can also add keywords automatically during import or clip analysis. See also Keyword Collection. L-cut See split edit. Libraries sidebar The pane in the Final Cut Pro sidebar that lists the libraries and events that contain your imported media (video, audio, and still images) and your projects. When you select an event or a library in the Libraries sidebar, its media appears as clips in the browser, and its projects appear as thumbnails. The Libraries sidebar is also the home for Final Cut Pro Keyword Collections and Smart Collections, which provide a powerful way to organize your media using keywords and persistent search filters. See also event, Keyword Collection, Smart Collection. linear editing Before digital video editing, programs were edited together by copying shots from the original source tapes to a program tape, one by one. Because the assembly was linear, any changes in duration made to an earlier point of the tape required reassembling the movie from that point forward. See also nonlinear editing. looping A playback mode in which clips and projects go back to the beginning whenever the playhead reaches the end of the media. You can turn looping on or off from the View menu or by pressing Command-L. lower third A television industry term for a graphic placed in the lower area of the screen, usually to convey details about subjects or products. A common use of lower thirds is to identify individuals on the screen with their names and job titles. luma A value describing the brightness of a video image. A luma channel is a grayscale image showing the range of brightness across the whole clip. Final Cut Pro User Guide 876 luma key An effect used to key out pixels of a certain luma value (or a range of luma values), creating a matte based on the brightest or darkest area of an image. Keying out luma values works best when your clip has a large discrepancy in exposure between the areas that you want to key out and the foreground images you want to preserve—for example, a white title on a black background. See also chroma key, matte. luminance An objective measurement of light corresponding to intensity weighted by the spectral sensitivity of human vision. Luminance is measured in candelas per square meter (cd/m2), often referred to as nits. markers Markers flag a specific location in a clip with editing notes or other descriptive information. You can also use markers for task management. Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). mask An image or a clip used to define areas of transparency in another clip. Similar to an alpha channel. You can create masks based on a color you choose or a shape you create. See also alpha channel. mastering The process of creating a high-quality final copy of a completed project, which serves as the source media for the final stages of professional post-production or broadcast and distribution. matte Sometimes referred to as a holdout matte. An effect that uses information in one layer of video to affect another layer. Mattes are useful when you want to use one clip to selectively hide or reveal part of another; for example, you could use a round spotlight shape to reveal parts of a video layer. Matte effects can be used by themselves to mask out areas of a clip or to create alpha channel information for a clip—for example, to make a transparent border around the clip that can be composited against other layers. See also alpha channel, compositing. media A generic term for elements such as movies, sounds, and pictures. media handle Additional media available before the start point or after the end point of a clip in the timeline. media representation In Final Cut Pro, a type of media file corresponding to a video clip. Final Cut Pro allows for three types of media representations—original source video files, optimized copies transcoded to the Apple ProRes 422 format, and proxy copies transcoded to the Apple ProRes 422 Proxy or H.264 format. You can choose to edit with optimized or proxy media to increase playback performance. See also optimized files, proxy files, source media files. media stems Audio or video files that are usually exported separately for audio mixing or post-production, or to match specifications when delivering files to broadcast networks. For example, you may need to deliver a multitrack QuickTime file along with separate dialogue, music, and effects stems. mixing The process of adjusting the audio levels of all audio clips in an edited program, including the production audio, music, sound effects, voiceovers, and additional background ambience, to turn all of these sounds into a harmonious whole. monochrome An image presented in shades of a single color, most often as the shades of gray in a black-and-white image. Final Cut Pro User Guide 877 monoscopic A 360° video file that uses a single projection. This is a flat (two-dimensional) rendering that can be viewed on any screen. You can navigate monoscopic 360° video in any direction, but there’s no real depth perception; viewing monoscopic video is like looking around with only one eye open. MP3 Refers to the MPEG-1 or MPEG-2 Audio Layer 3 compression standard and file format. Like AAC, MP3 uses perceptual audio coding and psychoacoustic compression to remove superfluous information that the human ear doesn’t hear. MPEG (Moving Picture Experts Group) A group of compression standards for video and audio, which includes MPEG-1, MPEG-2, and MPEG-4. multicam clip A set of clips grouped together and synced by a common sync point. You can use multicam clips to edit footage from multicamera shoots or other synced footage in real time. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. MXF An industry-standard file format for video and audio. Like QuickTime files, MXF files contain information about the media inside. This information, also called metadata, can include frame rate, frame size, creation date, and custom data created by a camera operator, assistant, or archivist. See also frame rate, resolution. nested sequence See compound clip. NLE Short for nonlinear editor. See also nonlinear editing. nondestructive editing No matter how you edit clips in Final Cut Pro, the underlying media is never touched. This is known as nondestructive editing, because none of the changes and effects you apply to your footage affect the original source media files. Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your Mac or storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in the project. Trimmed or deleted pieces of clips are removed from your project only, not from the clips in your library or from the source media files on your Mac or storage device. non-drop frame timecode Timecode in which frames are numbered sequentially and no timecode numbers are dropped from the count. In the case of NTSC video, the video frame rate is actually 29.97 fps, and non-drop frame timecode is off by 3 seconds and 18 frames per hour in comparison to actual elapsed time. See also drop frame timecode, NTSC format. non-interlaced video The standard representation of images on a computer. Also referred to as progressive scan. The monitor displays the image by drawing lines, one after another, from top to bottom. nonlinear editing A video editing method that allows you to change the edits within a program without having to re-create the entire program. When you use a nonlinear editing application to edit a program, all footage used is stored on a computer or storage device rather than on tape. This allows random access to all video, audio, and images as you edit. See also linear editing. NTSC format The video standard defined by the National Television Standards Committee, the organization that originally defined North American broadcast standards. Analog NTSC video has 525 interlaced lines per frame, a frame rate of 29.97 fps, and a limited color gamut. Digital NTSC video has a frame size of 720 x 486 pixels (720 x 480 for DV and DVD), and a frame rate of 29.97 fps. See also PAL format. Final Cut Pro User Guide 878 offline editing A post-production process in which raw footage is copied and edited without affecting the original camera media (film, tape, or file-based media). After a program has been completed in the offline edit (typically using proxy media at a lower resolution), an online edit is performed to re-create the edit using the original media. opacity The level of a clip’s transparency. optimized files You can use Final Cut Pro to transcode your original media to create optimized files in the Apple ProRes 422 format, which provides better performance during editing, faster render times, and better color quality for compositing. See also Apple ProRes 422, media representation. outgoing clip The clip a transition segues from. For example, if clip A dissolves to clip B, clip A is the outgoing clip. See also incoming clip. Out point See edit point. overwrite edit In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or at the skimmer or playhead position. No clip items are rippled forward, so the duration of your project remains the same. Overwriting is purely duration-based and works on range selections only, irrespective of clip boundaries. See also range, storylines. PAL format Acronym for Phase Alternating Line, a 25 fps (625 lines per frame) interlaced video format used by many European countries. Digital PAL video has a frame size of 720 x 576. See also NTSC format. parallax The difference between the horizontal positions of the two cameras, or eyes, in stereoscopic 360° media. See also stereoscopic. Photos and Audio sidebar A pane in the Final Cut Pro sidebar that provides access to all of your photo and audio collections. When you select an item in the sidebar (such as an album in Photos or a category of sound effects), the item’s contents are displayed in the browser. Depending on which apps and which version of macOS you’re using, you may see photo libraries from Photos or other photos apps, or music and sound libraries from Music, GarageBand, or Logic Pro. pitch Sounds are perceived as high or low depending on their frequency, or the number of times per second a sound wave cycles from positive to negative and back to positive. The word that musicians most commonly use for frequency is pitch. The higher the frequency, the higher the pitch. Modifying the speed of a clip affects the pitch of the audio. Slow motion creates low pitch, and fast motion creates high pitch. pixel One dot in a video or still image. The more pixels in an image, the higher the resolution. See also resolution. playhead A gray vertical line that marks the current position in a project in the timeline or a clip in the browser. You can move the playhead by dragging it or clicking another area of the timeline or browser. You use the playhead to scrub, or move through your project and play it back from different locations. The playhead is fixed in place unless you move it or click elsewhere. See also skimmer. Position tool The editing tool that allows you to place items in the timeline. You can select the Position tool by pressing the P key. post-production The phase of film or video editing in which all of the production elements are organized, assembled, and output. Final Cut Pro User Guide 879 PQ (Perceptual Quantizer) A high-dynamic-range (HDR) transfer function that relates image signal values to absolute light levels produced by a display. PQ is standardized in SMPTE ST 2084 and is one of the two supported transfer functions in the ITU-R Rec. 2100 standard for HDR video. PQ is used in formats such as HDR10, HDR10+, and Dolby Vision. project A project provides a record of your editing decisions and the media you use. You build your project by adding clips and editing them in the timeline. A project is also defined by its video, audio, and rendering properties. In most cases, Final Cut Pro manages project settings automatically based on the properties of the first clip you add to a project. project properties A project’s video, audio, and rendering properties. In most cases, Final Cut Pro manages a project’s properties automatically based on the properties of the first clip you add to a project. If you must modify the project properties, choose video and audio project properties based on how you intend to share your final movie with your audience. proxy files You can use Final Cut Pro to transcode your original media to create proxy files, which are smaller files with a lower data rate. Proxy files can be used for offline editing or for editing when using a slower computer. Final Cut Pro creates video proxy files using either the Apple ProRes 422 Proxy or H.264 format. You can create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original. See also Apple ProRes 422 Proxy, H.264, media representation. QuickTime Cross-platform multimedia technology from Apple. Widely used for production, post-production, and distribution of video, audio, and interactive programs. rack focus A commonly used technique in film and television that involves shifting the focus between the foreground, middle ground, and background elements of a shot. range Instead of selecting whole clips, you can select a range within any clip in the timeline or the browser. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range start and end points by dragging either side of the selection. In the timeline, you can also select a range that spans multiple clips. In the browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. Range Selection tool The editing tool that allows you to select a range in the timeline. You can select the Range Selection tool by pressing the R key. Rec. 2020 Short for Rec. ITU-R Recommendation BT.2020, a color space standard with a very large gamut (range of color). Rec. 709 Short for ITU-R Recommendation BT.709, the standard broadcast format for high-definition (HD) television. rectilinear A standard video file, as opposed to a spherical 360° video file that has equirectangular projection (showing all parts of a three-dimensional sphere flattened in a video frame, similar to world maps that depict the globe as a two-dimensional rectangle). red laser media Traditional DVD burners and players use a red laser when working with DVD media. Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue laser has a shorter wavelength, making it possible to store more data on a disc. See also blue laser media. Final Cut Pro User Guide 880 render To process video and audio with any applied effects or transitions, and store the result on your Mac or storage device as a render file. These render files are stored with your Final Cut Pro event and project files. When you publish or export a project, it’s also rendered to create the output files. replace edit In a replace edit, a source selection replaces a clip in your project in the timeline. In contrast to overwrite edits, replacing works on whole timeline clips only and can change the duration of your project. resolution Also referred to as frame size. Refers to the number of pixels in an image. Resolution is expressed in terms of the width and height of the image in pixels (for example, 640 x 360 pixels). Higher-resolution images contain more detail but also create larger files that take longer to download. Your electronic devices (computer, iPhone, iPad, iPod, and so on) also have screen resolution. Ideally, you should match the image resolution of your media to the resolution of your playback device. reverb Reverberation, or reverb, refers to the reflection pattern created by sound waves bouncing off the surfaces—walls, ceilings, windows, and so on—of any space, or off objects within a space, gradually dying out until they’re inaudible. Final Cut Pro includes a variety of audio effects that add reverb to the sound of a clip. RF64 An extension to the WAV file format that allows for files larger than 4 GB. RGB Abbreviation for Red, Green, Blue. A color space commonly used on computers, in which each color is described by the strength of its red, green, and blue components. This color space directly translates to the red, green, and blue phosphors used in computer displays. The RGB color space has a very large gamut, meaning it can reproduce a very wide range of colors. This range is typically larger than the range that can be reproduced for broadcast. ripple edit The default type of trim in Final Cut Pro is a ripple edit (also called a ripple trim), which adjusts a clip’s start point or end point without leaving a gap in the timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the timeline. Similarly, if you delete a clip from the timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the timeline, and the total duration of your project. roles Metadata text and color labels that you assign to clips in the browser or the timeline. Roles provide a flexible and powerful way to manage your editing workflow. You can use roles in Final Cut Pro to organize clips in your events and projects, control the appearance of the timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. Roles have distinct colors that let you instantly recognize clips with a particular role in the browser and the timeline. roll edit An edit that affects two clips that share an edit point. For example, if clip A cuts to clip B, a roll edit simultaneously adjusts the end point of clip A and the start point of clip B by the same amount. The overall duration of the project stays the same. rough edit The first editing pass. The rough cut is an early version of a movie that pulls together its basic elements. Often, a rough edit is performed prior to adding transitions, titles, and other effects. saturation A measurement of the intensity of color in the video signal. scene A series of shots that take place at the same time and in the same location. A series of scenes make up a program. Final Cut Pro User Guide 881 Select tool The default arrow-shaped pointer that allows you to select items in the timeline. For example, you use it to select a clip or edit point. You can select the Select tool by pressing the A key. sequence See project, timeline. shortcut menu A menu you access by holding down the Control key and clicking an item on the screen, or by pressing the right mouse button. Sometimes called a contextual menu. shot A segment of continuously recorded video. A shot is the smallest unit of a program. sidebar The sidebar appears to the left of the browser and contains three panes for selecting different types of media: the Libraries sidebar, the Photos and Audio sidebar, and the Titles and Generators sidebar. When you select an item in a sidebar pane (such as an event containing clips, or a category of sound effects or 3D titles), its contents are displayed in the browser. You can show or hide any of the sidebars. skimmer A red vertical line that appears as you move the pointer over clips in the browser and timeline to preview them. You use the skimmer to skim, or freely move over clips to play them back at the position and speed of the pointer. You can skim clips without affecting the playhead position. If you have snapping turned on, the skimmer turns orange when it snaps to a position. See also playhead, snapping. slate A shot at the beginning of a scene that identifies the scene with basic production information such as the take, date, and scene number. A clapper provides an audiovisual cue for syncing when video and audio are recorded separately. slide edit An edit in which an entire clip is moved, along with the edit points on its left and right. The duration of the clip being moved stays the same, but the clips to the left and right of it change in length to accommodate the new position of the clip. The overall duration of the project and of these three clips remains the same. slip edit An edit in which the location of both the start and end points of a project clip are changed at the same time, without changing the position or duration of the clip. This is referred to as slipping, because you slip the clip’s start and end points inside the available footage. The portion of the clip seen in the project changes, but its position in the timeline stays the same. Smart Collection When you search for clips in an event using the Filter window, you can save your results by creating a new Smart Collection that gathers clips matching the search criteria. Whenever a new clip that matches the Smart Collection’s search criteria is brought into the event, the new clip is automatically added to the Smart Collection. Clips that appear in Smart Collections are not duplicates. Smart Collections filter clips in an event to help you focus on the clips you need to use for a specific task. See also event. snapping When snapping is turned on in Final Cut Pro, items you move in the timeline (including the playhead, the skimmer, and selected clips) appear to jump, or “snap,” directly to certain points in the timeline. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. You can disable snapping when frame-by-frame precision editing is required. Final Cut Pro User Guide 882 sound effects Specific audio material, such as the sound of a door closing or a dog barking, from effects libraries or from clips you recorded. Sound effects can be used to replace sounds in the location audio of a program, or to add sound that wasn’t originally recorded. Over 1300 royalty-free sound effects are included with Final Cut Pro as a separate download. source media files The original files (video, audio, and still images or graphics) that you import into Final Cut Pro. A clip you use in Final Cut Pro points to the location where the source media file is stored (either on your Mac, a storage device, or a camcorder, camera, or device). Changes made to clips within Final Cut Pro do not affect the source media files. special effects Visual effects applied to clips and projects, such as motion, compositing, keying, and retiming effects. spill suppression A color correction operation that neutralizes any green or blue fringing or light bounce that’s tinting the subject being keyed. Spill suppression works by applying the complementary (opposite) color of the color that’s being made transparent. split edit Final Cut Pro allows you to set separate video and audio start and end points in an individual clip. These edits, known as split edits, are a common technique in most dialogue scenes in films and television shows. You can use split edits to introduce the sound of a new shot or scene before cutting to the video of that shot or scene. Conversely, you can use a split edit to extend the audio of a shot over a subsequent shot. SRT (SubRip Text) A subtitle format supported by Facebook, YouTube, and Vimeo. The SRT format is simple: Each caption has a number, a start and end timecode (in decimal timecode), and one or more lines of text. SRT captions can be imported or exported as separate files. Unlike captions in other formats, exported SRT captions can be read and edited in a plain text editor. SRT caption files have the filename extension .srt. standard-definition (SD) Refers to the original NTSC and PAL video frame sizes. NTSC uses 480 or 486 active lines per frame, and PAL uses 576 active lines. See also highdefinition (HD). standard dynamic range (SDR) The conventional technique for processing luminance (brightness) and color values in images, developed in the mid-1900s, with a nominal maximum brightness of 100 nits (candelas per square meter) and a dynamic range of 6 to 10 stops. Some newer imaging devices can display high-dynamic-range (HDR) images, representing a much wider range of brightness levels. stereo Short for stereophonic, which describes audio that contains two different channels. Audio level changes are automatically made to both channels at the same time. stereoscopic A 360° video file that is split into two views designated for the left and right eyes. This type of video is designed to be viewed through a special headset or glasses that can project each of the two views into the appropriate eye. Stereoscopic video simulates the depth perception (in three dimensions) that people experience in the real world when they have two eyes open. storylines All instances of the timeline contain a primary storyline, which is the main sequence of clips you build to create your movie. Storylines are sequences of clips connected to the primary storyline. You can use storylines for the same purposes as connected clips (such as creating cutaways, compositing titles and other graphics, and adding sound effects and music). See also compositing, cutaway shot. straight cut A cut in which both the video and audio clip items are cut at the same time. Final Cut Pro User Guide 883 subframe A subframe has 1/80 the duration of a video frame and is thus a more precise unit of reference when editing audio at the sample level. sync (synchronization) The relationship between the image of a sound being made in a video clip (for example, a person talking) and the corresponding sound in an audio clip. Maintaining audio sync is critical when editing dialogue. In Final Cut Pro, connected clips and compound clips help maintain sync in your program. See also compound clip, connected clip. Thunderbolt I/O technology that supports high-resolution displays and high-performance data devices through a single, compact port. three-point editing An editing technique in which three out of four edit points are set in a source selection and a project. When the edit is performed, the fourth edit point is calculated automatically in Final Cut Pro. See also edit point. through edit An edit point in which the video or audio content on either side of the edit is continuous. See also edit point. TIFF (Tagged Image File Format) A widely used bitmapped graphics file format, developed by Aldus and Microsoft, that handles monochrome, grayscale 8- and 24-bit color. TIFF supports alpha channels. See also alpha channel. timecode A signal recorded with your video that uniquely identifies each frame. By default, timecode appears in Final Cut Pro in the format hours: minutes: seconds: frames. Timecode supports a variety of functions in Final Cut Pro, including timeline playback, syncing video and audio clip items, navigating through projects in the timeline, and moving and trimming clips. timeline The bottom portion of the Final Cut Pro window contains the timeline, where you create your movie project by adding and arranging clips and making all your edits. timeline index You can view a text-based, chronological list of the clips, keywords, and markers in a project using the timeline index. When you select an item in the timeline index, the playhead jumps to that item in the timeline. You can also use the Roles pane of the timeline index to organize clips in the timeline by role. See also keywords, markers, roles. tint A color shade added to an image, usually to create an effect. For example, adding a sepia tone creates the effect of old photos or film footage. Titles and Generators sidebar A pane in the Final Cut Pro sidebar that provides access to all the title effects and video generators included with Final Cut Pro. When you select an item in the sidebar (such as a category of 3D titles), the item’s contents are displayed in the browser. toolbar The bar at the top of the Final Cut Pro window with buttons and tools for common tasks such as showing or hiding the main areas of Final Cut Pro and sharing your project. transcode To convert a media file to a different format (such as DV, H.264, or MPEG-2) or change its properties (such as video frame size and frame rate, data rate, and audio sample rate). Compressor, an Apple app designed to work with Final Cut Pro, makes transcoding media files a fast and easy process. transitions Effects that are applied to edit points to smooth out the change from one clip to the next. In Final Cut Pro, you can choose from a variety of video transitions, such as a dissolves or wipes, or you can add an audio crossfade between audio clips. Final Cut Pro User Guide 884 Transitions browser A media browser in Final Cut Pro that provides access to all the video transitions included with Final Cut Pro. trim After you’ve assembled your clips in rough chronological order in the timeline, you begin to fine-tune the cut points (or edit points) between clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. In Final Cut Pro, you can use a variety of techniques to trim timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. Trim tool The editing tool that allows you to trim items in the timeline. You can select the Trim tool by pressing the T key. ultra-high-definition (UHD) Refers to video with a minimum resolution of 3840 x 2160 pixels. See also high-definition (HD). uncompressed 8- and 10-bit 4:2:2 Video formats that can be used to store 8-bit or 10-bit 4:2:2 Y'CbCr video without employing data compression. Bypassing compression reduces the computer’s processing load but increases the data rate considerably. A large-capacity RAID storage system is typically required to work effectively with uncompressed video. In many cases, Apple ProRes is a better choice. The data rate of uncompressed 4:2:2 video varies according to frame size and frame rate. As an example, at a frame size of 1920 x 1080 and a frame rate of 29.97 fps, the data rate is 1.0 Gbps for uncompressed 8-bit 4:2:2 video and 1.3 Gbps for uncompressed 10-bit 4:2:2 video. upstream Refers to clips that are to the left of the current clip in the timeline. When you perform actions that ripple the project, upstream clips are not affected. See also downstream, ripple edit. value slider A type of numerical slider control that appears as a number, often to the right of a basic slider. There are two ways to adjust a value slider: by dragging over the number to decrease or increase the parameter value, or by double-clicking the number and entering a new value. variable speed Speed that varies dynamically, in forward or reverse motion, in a single clip. VCR Abbreviation for videocassette recorder. Generally refers to consumer equipment used for recording video from various sources. Sometimes referred to as a VTR. See also VTR. vectorscope A video scope in Final Cut Pro that shows the distribution of color in your image on a circular scale. The vectorscope is useful for comparing the hue and intensity of colors between two clips for the purposes of color correction. See also hue. Video Animation editor You can show the Video Animation editor for clips in the timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. See also Audio Animation editor, keyframe. viewer When you play clips selected in the browser and the timeline, they appear in the viewer. VTR Abbreviation for videotape recorder. Generally refers to professional equipment used for recording video from various sources. watermark A visible graphic or text overlay applied to an image or video clip to indicate that it’s protected by a copyright. Watermarks are used to discourage the use of images or video clips without the copyright holder’s explicit permission. Final Cut Pro User Guide 885 WAVE (or WAV) An audio file format most commonly used for storing uncompressed linear pulse code modulation (LPCM) audio data. waveform monitor A video scope in Final Cut Pro that displays the relative levels of luma and chroma in the clip currently being examined. Spikes and dips in the displayed waveforms correspond to light or dark areas in your picture. See also chroma, luma. white-balance To make adjustments to a video signal being recorded in order to reproduce white as true white. For example, if the white in a shot is too yellow because of incandescent lighting, white-balancing adds enough blue to make the white appear neutral. widescreen Any movie presentation that has an aspect ratio wider than 4:3. In movie theaters, 1.85 is considered standard and 2.40 is considered widescreen. For video, 4:3 is considered standard and 16:9 (which is almost the same aspect ratio as 1.85) is considered widescreen. See also 4:3, 16:9. wipe A common type of video transition. In a wipe, the screen splits, moving from one side of the image to the other to gradually reveal the next shot. A wipe is more obvious (and customizable) than a fade or cross dissolve. See also cross dissolve, fade. XDCAM A Sony optical disc format for recording DVCAM and IMX video within MXF container files. See also DVCAM, IMX, MXF. XDCAM EX A member of the Sony XDCAM product family that uses MPEG-2 video compression with 4:2:0 chroma sampling. In contrast to XDCAM HD, XDCAM EX supports 720p and records full HD resolution (either 1920 x 1080 or 1280 x 720). Its maximum bit rate is 35 Mbps. Instead of optical discs, XDCAM EX camcorders use solid-state memory cards known as SxS cards. See also chroma, HDV. XDCAM HD422 A member of the Sony XDCAM product family featuring 4:2:2 chroma sampling and a video bit rate of 50 Mbps. Like XDCAM EX, XDCAM HD422 uses MPEG2 video compression at full HD resolution (either 1920 x 1080 or 1280 x 720). See also chroma, HDV. Y'CbCr The color space in which many digital video formats store data. Three components are stored for each pixel—one for luma (Y) and two for color information (Cb for the blue difference signal and Cr for the red difference signal). Also referred to as YUV. See also luma, pixel. Zoom tool The editing tool that allows you to zoom in to or out of the timeline. You can select the Zoom tool by pressing the Z key. Final Cut Pro User Guide 886 Apple Inc. © 2021 Apple Inc. All rights reserved. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, AirDrop, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iMovie, iPad, iPad Air, iPad mini, iPadOS, iPad Pro, iPhone, iPhoto, iPod, iPod touch, iSight, iTunes, Logic, Logic Pro, Mac, MacBook, MacBook Pro, macOS, Mac Pro, Motion, OS X, QuickTime, Retina, Safari, Time Machine, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries. Multi-Touch and Touch Bar are trademarks of Apple Inc. App Store, iCloud, iCloud Drive, and iTunes Store are service marks of Apple Inc., registered in the U.S. and other countries. Apple One Apple Park Way Cupertino, CA 95014 USA apple.com IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. The YouTube logo is a trademark of Google Inc. Other company and product names mentioned herein may be trademarks of their respective companies. Production stills from the film “Koffee House Mayhem” provided courtesy of Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved. Audi R8 production stills: Audi trademarks are used with permission of Audi of America, Inc. (Closed course with drivers wearing safety equipment. Do not attempt on public roads; always obey local traffic laws.) Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Some apps are not available in all areas. App availability is subject to change. 028-00472 MainStage 2 Instruments de Logic Pro Copyright © 2011 Apple Inc. Tous droits réservés. Vos droits concernant le logiciel sont soumis aux termes de son contrat de licence de MainStage. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel est autorisé à reproduire cette publication à des fins d’apprentissage du logiciel. Aucune partie de cette publication ne peut être reproduite ou transmise à des fins commerciales comme la vente de copies de cette publication ou pour la fourniture de services d’assistance payants. Le logo Apple est une marque d’Apple, Inc. déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option-1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tout a été mis en œuvre pour que les informations présentées dans ce manuel soient exactes. Apple ne peut être tenu responsable des erreurs d’impression ou d’écriture. Remarque : Apple commercialisant régulièrement de nouvelles versions et des mises à jour de logiciels, applications et sites web, les illustrations de ce manuel peuvent différer de celles affichées à l’écran. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, le logo Apple, Finder GarageBand, Logic, Mac, MainStage et Ultrabeat sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Tous les autres noms de produits sont des marques de leurs propriétairesrespectifs. Les produits commercialisés par des entreprises tiers ne sont mentionnés qu’à titre d’information, sans aucune intention de préconisation ni de recommandation. Apple ne se porte pas garant de ces produits et décline toute responsabilité quant à leur utilisation et à leur fonctionnement. Préface 9 Introduction aux instruments de Logic Pro 9 À propos des instruments de Logic Pro 9 À propos de la documentation de MainStage 10 Ressources supplémentaires Chapitre 1 11 ES E 12 Présentation de l’interface ES E 13 Utilisation des oscillateurs ES E 13 Utilisation du LFO ES E 14 Utilisation du filtre ES E 15 Utilisation de l’enveloppe ES E 16 Utilisation des paramètres ES E Output 16 Paramètres Extended ES E Chapitre 2 17 ES M 18 Présentation de l’interface de l’ES M 19 Utilisation de l’oscillateur de l’ES M 20 Utilisation du filtre et de l’enveloppe de filtre de l’ES M 21 Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M 21 Paramètres étendus de l’ES M Chapitre 3 23 ES P 24 Présentation de l’interface de l’ES P 25 Utilisation des oscillateurs ES P 25 Utilisation du LFO de l’ES P 26 Utilisation du filtre de l’ES P 28 Utilisation des commandes Envelope et Level de l’ES P 29 Utilisation d’effets ES P intégrés 29 Paramètres étendus de l’ES P Chapitre 4 31 ES1 32 Présentation de l’interface de l’ES1 33 Utilisation des oscillateurs de l’ES1 35 Utilisation des paramètres Filter de l’ES1 3 Sommaire 37 Utilisation des paramètres Amplifier de l’ES1 38 Utilisation des paramètres Envelope de l’ES1 40 Modulation du son de l’ES1 44 Ajustement des paramètres globaux de l’ES1 45 Liste des contrôleurs MIDI de l’ES1 Chapitre 5 47 ES2 48 Achitecture et fonctionnalités de l'ES2 49 Présentation de l’interface ES2 50 Utilisation des oscillateurs de l’ES2 64 Utilisation des paramètres globaux de l’ES2 66 Utilisation des filtres de l’ES2 76 Utilisation des paramètres Amplifier de l’ES2 78 Utilisation de la modulation dans l’ES2 112 Utilisation de la section de traitement d’effets intégré de l’ES2 114 Création de variations sonores aléatoires de l’ES2 116 Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 119 Utilisation de l’ES2 en mode Surround 119 Guide d’initiation à l’ES2 : création de sons 131 Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons Chapitre 6 139 EFM1 140 Présentation de l’interface EFM1 141 Utilisation des paramètres Modulator et Carrier de l’EFM1 144 Utilisation des paramètres EFM1 Modulation 146 Réglage des paramètres Global EFM1 147 Réglage des paramètres EFM1 Output 148 Création de variations sonores aléatoires EFM1 148 Affectation de contrôleurs EFM1 MIDI Chapitre 7 149 EVB3 149 Fonctionnalités de l'EVB3 151 Présentation de l’interface EVB3 153 Utilisation des commandes de tirette EVB3 154 Utilisation des touches de présélection de l’EVB3 158 Fonction de morphing de l’EVB3 159 Utilisation du Vibrato scanner EVB3 intégré 161 Utilisation de l’effet EVB3 Percussion 162 Utilisation des paramètres Tone globale dans EVB3 163 Utilisation des paramètres Modèle dans EVB3 171 Utilisation des effets EVB3 intégrés 176 Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 181 Réglage de l’EVB3 pour vos équipements MIDI 4 Sommaire 184 Attribution d’un contrôleur MIDI dans l’EVB3 191 Synthèse additiv e à l’aide de s tirett e s 192 Effet résiduel 193 Génér ation sonor e à roue s phonique s 193 B ref historique de l’orgue Hammond 194 Cabine L eslie Chapitr e 8 197 EVD6 197 Achitectur e et fonctionnalités de l'EVD6 199 Présentation de l’in terfac e EVD6 200 Utilisation de s paramètr e s EVD6 M odel 205 Utilisation de s paramètr e s globaux de l’EVD6 207 Utilisation de s paramètr e s Filter et Damper EVD6 208 Utilisation de s paramètr e s Pickup EVD6 211 Utilisation de s effets intégrés de l’EVD6 215 Utilisation de s paramètr e s EVD6 Output 216 Utilisation de s paramètr e s EVD6 MIDI Control 218 Brèv e histoir e du Clavinet Chapitr e 9 221 EVP88 221 Achitectur e et fonctionnalités de l'EVP88 222 Présentation de l’in terfac e EVP88 223 Utilisation de s paramètr e s globaux de l’EVP88 224 Utilisation de s paramètr e s EVP88 M odel 225 Utilisation de s paramètr e s EVP88 Stretch 226 Utilisation de s effets EVP88 intégrés 231 Utilisation de s paramètr e s EVP88 Ex tended 231 List e de s contrôleurs MIDI de l’EVP88 232 M odèle s de pianos électrique s émulés par l’EVP88 Chapitr e 1 0 237 E VOC 20 PolySynth 237 Fonctionnemen t du E VOC 2 0 240 Présentation de l’in terfac e de l’E VOC 2 0 PolySynth 241 Paramètr e s E VOC 2 0 PolySynth Sidechain Analysis 243 Paramètr e s E VOC 2 0 PolySinth (U/V ) Detection 245 Paramètr e s E VOC 2 0 PolySynth Synthesis 251 Paramètr e s E VOC 2 0 PolySynth Forman t Filter 254 Paramètr e s E VOC 2 0 PolySynth M odulation 255 Paramètr e s E VOC 2 0 PolySynth Output 256 Optimisation de s per formanc e s de l’E VOC 2 0 PolySynth 259 Brèv e histoir e du v o c oder 262 Schéma de princip e de l’E VOC2 0 Sommair e 5 Chapitre 11 263 External Instrument 263 Présentation de l’interface d’External Instrument 264 Utilisation du module External Instrument Chapitre 12 267 EXS24 mkII 268 Fonctionnalités de EXS24 mkII 269 Présentation de l’interface de l’EXS24 mkII 270 À propos des instruments de l’échantillonneur EXS24 272 Présentation de la fenêtre Parameter de l’EXS24 mkII 273 Utilisation du menu local EXS24 mkII Sampler Instruments 278 Ajustement des paramètres globaux de l’EXS24 mkII 282 Utilisation des paramètres EXS24 mkII Pitch 285 Utilisation des paramètres EXS24 mkII Filter 288 Paramètres EXS24 mkII Output 289 Utilisation de la modulation de l’EXS24 mkII 304 Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII 307 Créations d’instruments, de zones et de groupes de l’EXS24 mkII 313 Modification de zones et de groupes de l’EXS24 mkII 316 Réglage des paramètres de zone de l’EXS24 mkII 319 Utilisation des paramètres EXS24 mkII Zone Loop 320 Réglage des paramètres EXS24 mkII Group 322 Utilisation des paramètres EXS24 mkII Advanced Group Selection 324 Édition graphique des zones et des groupes de l’EXS24 mkII 326 Enregistrer, renommer et exporter des instruments de l’EXS24 mkII 327 Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII 329 Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII 329 Importation des instruments de l’échantillonneur de l’EXS24 mkII 339 Gestion des instruments de l’échantillonneur EXS24 341 Réglage des Préférences Sampler de l’EXS24 mkII 344 Configuration de la mémoire virtuelle de l’EXS24 mkII 346 Gestion avancée de la RAM de l’EXS24 mkII 347 Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII Chapitre 13 349 KlopfGeist 350 Utilisation des paramètres KlopfGeist Chapitre 14 351 Sculpture 352 Présentation de l’interface Sculpture 353 Présentation du cœur de synthèse Sculpture 356 Présentation du paramètre Sculpture String 357 Utilisation des paramètres Sculpture String 364 Utilisation des objets dans Sculpture 6 Sommaire 371 Utilisation des capteurs dans Sculpture 373 Utilisation des paramètres Global dans Sculpture 376 Utilisation des paramètres Amplitude Envelope dans Sculpture 377 Utilisation du Waveshaper dans Sculpture 378 Utilisation des paramètres Filter dans Sculpture 380 Utilisation du paramètre Integrated Delay dans Sculpture 383 Utilisation de l’option Body EQ dans Sculpture 387 Utilisation des paramètres Output dans Sculpture 387 Contrôle des paramètres Surround Range et Diversity dans Sculpture 388 Utilisation du paramètre Modulation dans Sculpture 400 Présentation des enveloppes de contrôle dans Sculpture 408 Présentation de la section Morph dans Sculpture 418 Affectation de contrôleurs MIDI dans Sculpture 419 Guide d’initiation à Sculpture : premiers contacts avec la création de sons 425 Guide d’initiation à Sculpture : création de sons de base 437 Guide d’initiation à Sculpture : Modulations 438 Guide d’initiation avancé à Sculpture : programmation de basses électriques 458 Guide d’initiation avancé à Sculpture : programmation de sons synthétisés Chapitre 15 467 Ultrabeat 468 Présentation de la structure d’Ultrabeat 469 Chargement et enregistrement des réglages Ultrabeat 471 Présentation de l’interface Ultrabeat 472 Présentation de la section d’assignation d’Ultrabeat 476 Importation de sons et d’instruments EXS dans Ultrabeat 479 Présentation de la section Ultrabeat Synthesizer 481 Présentation des oscillateurs d’Ultrabeat 482 Présentation des paramètres relatifs aux oscillateurs d’Ultrabeat 483 Utilisation de l’oscillateur 1 dans Ultrabeat 487 Utilisation de l’oscillateur 2 dans Ultrabeat 493 Utilisation du modulateur en anneau dans Ultrabeat 494 Utilisation du générateur de bruit d’Ultrabeat 496 Présentation de la section Ultrabeat Filter et Distortion 497 Utilisation du filtre multimode dans Ultrabeat 499 Utilisation du circuit de distorsion Ultrabeat 500 Utilisation de la section Ultrabeat Output 507 Utilisation de la modulation dans Ultrabeat 518 Utilisation du séquenceur pas à pas d’Ultrabeat 529 Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat 533 Exportation des motifs Ultrabeat en tant que régions MIDI 534 Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat 535 Guide d’initiation à Ultrabeat : introduction 536 Guide d’initiation à Ultrabeat : création de grosses caisses Sommaire 7 540 Guide d’initiation à Ultrabeat : création de caisses claires 547 Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale 548 Guide d’initiation à Ultrabeat : création de charlestons et de cymbales 548 Guide d’initiation à Ultrabeat : création de sons métalliques 549 Guide d’initiation à Ultrabeat : création de sons extrêmes 550 Guide d’initiation à Ultrabeat : programmation par blocs de construction Chapitre 16 551 Instruments GarageBand 552 Fonctionnalités des instruments de GarageBand 553 Base analogique GarageBand 554 Mono analogique GarageBand 555 Nappe analogique GarageBand 556 Tourbillon analogique GarageBand 558 Synchro analogique GarageBand 559 Basse GarageBand 560 Grandes orgues GarageBand 561 Numérique de base GarageBand 562 Digital Mono GarageBand 564 Digital Stepper GarageBand 565 Drum Kits GarageBand 566 Electric Clav(inet) GarageBand 566 Electric Piano GarageBand 567 Guitar GarageBand 568 Horns GarageBand 569 Hybrid Basic GarageBand 571 Hybrid Morph GarageBand 573 Piano GarageBand 574 Sound Effects GarageBand 575 Strings GarageBand 576 Tonewheel Organ GarageBand 577 Tuned Percussion GarageBand 578 Voice GarageBand 579 Woodwind GarageBand Annexe 581 Notions élémentaires sur les synthétiseurs 581 Principes de base du son 585 Qu’est-ce qu’un synthétiseur ? 587 Fonctionnement des synthétiseurs soustractifs 603 Autres méthodes de synthèse 608 Brève histoire du synthétiseur 8 Sommaire MainStage offre un certain nombre d'instruments reposant sur le logiciel pouvant être joués en temps réel. Les instruments comprennent des synthétiseurs innovants, un puissant échantillonneur et des véritables recréations d'anciens instruments. Cette préface traite des sujets suivants : • À propos des instruments de Logic Pro (p 9) • À propos de la documentation de MainStage (p 9) • Ressources supplémentaires (p 10) À propos des instruments de Logic Pro Les instruments couvrent presque tous vos besoins professionnels quotidiens en matière de génération de sons. Tous les instruments sont dotés d’une interface intuitive qui vous donne accès à tous les paramètres et toutes les fonctionnalitéss. Si besoin est, la qualité audio peut être parfaite. À l’inverse, vous pouvez aussi créer dessonstrès durs et bruyants grâce aux instruments fournis. Tous les instruments sont hautement optimisés pour une utilisation efficace du processeur, ce qui maximise le potentiel de lecture en temps réel de votre ordinateur. À propos de la documentation de MainStage MainStage est livré avec divers documents qui vous aideront à commencer et qui vous donneront des informations détaillées à propos des applications incluses. • Manuel de l'utilisateur deMainStage : ce manuel fournit desinstructions complètes pour la création de concerts de MainStage et l'utilisation de MainStage avec vosinstruments, micros et autres matériels de musique lors de vos prestations en public. • Découverte de MainStage : ce fascicule constitue une introduction rapide aux fonctionnalités et aux tâches principales de MainStage, tout en encourageant les nouveaux utilisateurs à faire leurs propres expériences. • Instruments de Logic Pro : ce manuel vousfournit desinstructions détaillées concernant l’utilisation du puissant ensemble d’instruments inclus avec MainStage. 9 Introduction aux instruments de Logic Pro Préface • Effets de Logic Pro : ce manuel vous fournit des instructions détaillées concernant l’utilisation du puissant ensemble d’effets inclus avec MainStage. • Utilisation du matériel Apogee : ce manuel décrit l'utilisation du matériel Apogee avec MainStage. Ressources supplémentaires En plus de la documentation fournie avec MainStage, une large gamme de ressources mises à disposition vous permet d’aller plus loin. Notes de mise à jour et Nouvelles fonctionnalités Chaque application est accompagnée d’une documentation détaillée à propos des nouvelles fonctionnalités ou de celles qui ont été modifiées. Vous pouvez accéder à cette documentation à l’emplacement suivant : • Cliquez sur les liens Notes de mise à jour et Nouvelles fonctionnalités dans le menu Aide de l’application. Site web de MainStage Visitez le site suivant pour obtenir des informations d’ordre général et des mises à jour et accéder aux toutes dernières nouveautés de MainStage : • http://www.apple.com/fr/logicpro/mainstage Sites web de service et assistance Apple Pour obtenir des mises à jour de logiciels et consulter lesréponses de la foire aux questions (FAQ) concernant l’ensemble des produits Apple, rendez-voussur la page web Assistance Apple. Vous pouvez également accéder aux spécifications des produits, à la documentation de référence, ainsi qu’à des articles techniques concernant les produits Apple et de tierce partie. • http://www.apple.com/fr/support Pour obtenir des mises à jour de logiciels, de la documentation, consulter des forums de discussion et accéder aux réponses de la foire aux questions(FAQ) concernant MainStage, rendez-vous à l’adresse : • http://www.apple.com/fr/support/mainstage Pour consulter les forums de discussion sur tous les produits Apple à travers le monde, vous permettant de rechercher des réponses, de poser des questions ou de répondre aux questions des autres utilisateurs, rendez-vous à l’adresse : • http://discussions.apple.com (en anglais) 10 Préface Introduction aux instruments de Logic Pro Le synthétiseur à 8 voix ES E (ES Ensemble) est idéal pour créer rapidement des sons chauds, riches et d'ensemble. L’ES E produit des sons à l’aide de la synthèse soustractive. Il comporte un oscillateur qui génère des formes d’onde riches en harmoniques. Vous soustrayez (coupez ou filtrez) des parties de ces formes d’onde et les déformez pour créer de nouveaux sons. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface ES E (p 12) • Utilisation des oscillateurs ES E (p 13) • Utilisation du LFO ES E (p 13) • Utilisation du filtre ES E (p 14) • Utilisation de l’enveloppe ES E (p 15) • Utilisation des paramètres ES E Output (p 16) • Paramètres Extended ES E (p 16) 11 ES E 1 Présentation de l’interface ES E Avant de découvrir les paramètres de l’ES E, cette rubrique vous permet de vousfamiliariser avec les différents éléments qui constituent l’interface graphique de ce logiciel. Paramètres Filter Paramètres Output Paramètres LFO Paramètres d’enveloppe Paramètres des oscillateurs Paramètres des oscillateurs • Paramètres Oscillator : les paramètres Wave et Octave de l’oscillateur sont présents dans la zone de gauche. L’oscillateur génère les formes d’onde qui forment la base de votre son. Consultez Utilisation des oscillateurs ES E. • Paramètres LFO: les paramètres LFO (sousle potentiomètre correspondant au paramètre Wave) sont utilisés pour moduler le son. Consultez Utilisation du LFO ES E. • Paramètres Filter : la partie à droite des paramètres de l’oscillateur inclut les potentiomètres Cutoff (Frequency) et Resonance. Le filtre sert à définir des formes d’onde envoyées par l’oscillateur. Consultez Utilisation du filtre ES E. • Paramètres Envelope : la zone à droite des paramètres Filter contient les paramètres Envelope, qui contrôlent le niveau de son au fil du temps. Consultez Utilisation de l’enveloppe ES E. • ParamètresOutput: la zone tout à droite contient le potentiomètre Volume, responsable du niveau de sortie principal, et les paramètres Effect. Les effets peuvent être utilisés pour colorer ou épaissir le son. Consultez Utilisation des paramètres ES E Output. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres Extended ES E. 12 Chapitre 1 ES E Utilisation des oscillateurs ES E L’oscillateur du synthétiseur génère une forme d’onde, qui est ensuite envoyée à d’autres parties du moteur du synthétiseur pour être traitée ou manipulée. • Potentiomètre Wave : sélectionne la forme d’onde de l’oscillateur, qui est responsable de la couleur de base de la tonalité. Le paramètre le plus à gauche du paramètre Wave fait produire aux oscillateurs des signaux en dents de scie. Pour toute la plage restante, les oscillateurs produisent des ondes pulsées dont la largeur moyenne d’impulsion est définie par la position du paramètre Wave. • Boutons 4, 8 et 16 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 16 pieds, le plus aigu est 4 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus la tonalité est profonde. Utilisation du LFO ES E Le LFO (low frequency oscillator) génère une forme d’onde cyclique utilisée pour moduler la forme d’onde ES E. Le comportement et l’effet du LFO dépendent du fait qu’une onde en dents de scie ou pulsation est sélectionnée. • Si le paramètre Wave est réglé sur une onde en dents de scie, le LFO module la fréquence de la forme d’onde, donnant un effet de vibrato ou de sirène,selon l’intensité et la vitesse du LFO. Chapitre 1 ES E 13 • Si le paramètre Wave est réglé sur une onde en pulsation, le LFO module la durée d’impulsions (modulation d’impulsions en durée, MID). • Potentiomètre Vib/PWM : détermine l’intensité de la modulation de la fréquence LFO. • Potentiomètre Speed : Établit la fréquence de la modulation LFO. Remarque : lorsque la largeur d’impulsion est très réduite, le son semble être « interrompu ». Compte tenu de cet effet potentiel, il convient de régler l’intensité MID avec précaution et de choisir la position 12 h du paramètre Wave (rectangulaire à 50 pour cent) pour la largeur d’impulsion, si vous souhaitez obtenir une plage de modulation maximale. Utilisation du filtre ES E L’ES E inclut un filtre passe-bas qui vous permet de définir la sortie de l’oscillateur. • Potentiomètre Cutoff : contrôle la fréquence de coupure du filtre ES E. • Potentiomètre Resonance : amplifie ou coupe les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. 14 Chapitre 1 ES E • Potentiomètre AR Int : l’ES E possède un générateur d’enveloppe pour chaque voix et comporte les paramètres Attack et Release (consultez Utilisation de l’enveloppe ES E). Le potentiomètre AR Int définit l’amplitude de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. • Potentiomètre Velo Filter. : détermine la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Remarque : ce paramètre n’a aucune incidence si le paramètre AR Int est défini sur 0. Utilisation de l’enveloppe ES E L’enveloppe AR (Attaque et Relâchement) affecte à la fois la fréquence de coupure du filtre (Int. AR) et le niveau de son au fil du temps. • Curseur Attack : détermine la durée requise par le signal pour atteindre le niveau initial souhaité (le niveau soutien). • Curseur Release : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau de soutien. Chapitre 1 ES E 15 Utilisation des paramètres ES E Output La sortie d’ES E est composée de la section Volume et des boutons Chorus/Ensemble. • Potentiomètre Volume : définit le niveau de sortie global de l’ES E. • Potentiomètre Velo Volume : détermine la sensibilité à la vélocité vers les événements des notes MIDI entrantes. Lorsqu’elle est définie sur des valeurs plus élevées, chaque note est plusforte,si elle est jouée avec plus de fermeté. Avec des valeurs moins élevées, la réponse dynamique est réduite, afin qu’il y ait moins de différence entre lorsque vous jouez une note pianissimo (avec légèreté) ou forte (avec force). • Boutons ChorusI, ChorusII et Ensemble : cliquez sur ces boutons pour activer ou désactiver ces variations d’effet. • Chœur I et Chœur II sont des effets de chœur. • Chœur II se caractérise par une modulation plus importante. • L’effet Ensemble fait appel à une routine de modulation plus complexe, qui crée un son plus riche et plus dense. • Si aucun de ces boutons n’est activé, le processeur d’effets est désactivé. Paramètres Extended ES E L’ES E comporte trois paramètres supplémentaires, auxquels vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface. • Pos. Bender Range. : change la plage du Pitch Bend vers le haut par demi-ton. Vous pouvez ainsi utiliser le contrôleur Pitch Bend de votre clavier pour changer la hauteur de l’ES E. • Neg. Bender Range. : la valeur Neg. par défaut du paramètre Bender Range est PB pos. (Pitch Bend positif). Cela signifie que seul le Pitch Bend positif est disponible. Vous pouvez régler la plage du Pitch Bend vers le bas par demi-ton jusqu’à 2 octaves (une valeur de 24). • Tune : règle la totalité de l’instrument en centièmes. Un centième correspond à 1/100e de demi-ton. 16 Chapitre 1 ES E Le synthétiseur ES M monophonique (ES Mono) constitue un bon point de départ si vous recherchez des sons de basse qui traversent bien votre mixage. L'ES M comprend un mode Fingered portamento automatique, facilitant le glissement des basses. Il comporte également un circuit de compensation de filtre automatique qui offre des sons de basse riches et crémeux, même lors de l’utilisation de valeurs de résonances plus importantes. L’ES M produit des sons par synthèse soustractive. Il utilise un oscillateur qui génère des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES M (p 18) • Utilisation de l’oscillateur de l’ES M (p 19) • Utilisation du filtre et de l’enveloppe de filtre de l’ES M (p 20) • Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M (p 21) • Paramètres étendus de l’ES M (p 21) 17 ES M 2 Présentation de l’interface de l’ES M Avant de découvrir les paramètres de l’ES M, cette rubrique vous permet de vous familiariser avec les différents éléments de l’interface graphique de ce logiciel. Paramètres des oscillateurs Paramètres Output Paramètres Filter et Filter Envelope Overdrive • Paramètres Oscillator : les paramètres des oscillateurs Mix et Octave s’affichent dans la zone située à gauche. L’oscillateur génère lesformes d’onde élémentaires qui constituent la base de votre son. Consultez Utilisation de l’oscillateur de l’ES M. • Paramètres Filter et Filter Envelope : la partie située à droite des paramètres de l’oscillateur comprend les potentiomètres (Cutoff) Frequency et Resonance. Le filtre sert à définir le contour des formes d’onde envoyées par les oscillateurs. Les paramètres Filter Envelope se trouvent dans la partie supérieure droite. Ils contrôlent la coupure du filtre dans le temps. Consultez Utilisation du filtre et de l’enveloppe de filtre de l’ES M. • ParamètresOutput: la zone inférieure droite, de forme angulaire, contient les paramètres Level Envelope et Output qui contrôlent le niveau du son dans le temps. Le potentiomètre Overdrive est situé au milieu du bord droit de l’interface. L’Overdrive peut être utilisé pour colorer ou ajouter du mordant au son. Consultez Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres étendus de l’ES M. 18 Chapitre 2 ES M Utilisation de l’oscillateur de l’ES M L’oscillateur du synthétiseur permet de générer une forme d’onde qui est ensuite envoyée à d’autres parties du moteur du synthétiseur pour être traitée ou manipulée. • Potentiomètre Mix : définit la forme d’onde de l’oscillateur, responsable de la couleur de base et de la tonalité. • Si vousréglez le paramètre Wave complètement à gauche, les oscillateurs produisent des signaux en dents de scie. • Si vous réglez le paramètre Wave complètement à droite, vous obtenez une onde rectangulaire de cinquante pour cent, audible à une octave au-dessous de l’onde en dents de scie. • Tout réglage du paramètre Wave entre ces positions extrêmes produit un mixage fondu enchaîné des deux formes d’onde. • Boutons 8, 16 et 32 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 32 pieds, le plus aigu est 8 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus le son est profond. • Potentiomètre Glide : détermine la vitesse du glissement (le temps requis pour glisser d’une hauteur tonale à une autre). S’il est réglé sur 0, aucun effet de glissé n’est utilisé. Remarque : l’ES M fonctionne toujours en mode de jeu portamento, c’est-à-dire que les notes sont jouées en legato, ce qui permet de glisser (effet portamento) d’une hauteur à l’autre. Chapitre 2 ES M 19 Utilisation du filtre et de l’enveloppe de filtre de l’ES M L’ES M est muni d’un filtre passe-bas vous permettant de définir le contour de la sortie de l’oscillateur. Le filtre comporte une enveloppe dédiée. Paramètres Filter Envelope • Potentiomètre Cutoff : contrôle la fréquence de coupure du filtre de l’ES M. Sa pente est de 24 dB/octave. • Potentiomètre Resonance : amplifie ou coupe les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. L’ES M compense en interne cet effet secondaire, de façon à produire un son plus chargé en basses. • Potentiomètre Int : définit la valeur (intensité ou profondeur) de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. • Potentiomètre Decay : définit le temps de chute de l’enveloppe de filtre. • Potentiomètre Velo : définit la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Remarque : les paramètres Decay et Velo n’ont aucun effet si Int est défini sur 0. 20 Chapitre 2 ES M Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M L’étape de sortie de l’ES M propose les paramètres suivants. Paramètres Level • Potentiomètre Decay : détermine le temps de chute de l’amplificateur dynamique. Les temps d’attaque, de relâchement et de maintien du synthétiseur sont réglés en interne sur 0. • Potentiomètre Velo : détermine la sensibilité à la vélocité de l’amplificateur dynamique. • Potentiomètre Vol : définit le niveau de sortie original de l’ES M. • Potentiomètre Overdrive : contrôle le niveau de l’effet Overdrive intégré. Important : pour éviter de nuire à vos oreilles ou d’endommager vos haut-parleurs, pensez à réduire le niveau du volume avant de définir Overdrive sur une valeur élevée, puis augmentez le volume progressivement. Paramètres étendus de l’ES M L’ES M propose trois paramètres supplémentaires auxquels vous pouvez accéder en cliquant sur le triangle d’affichage situé dans la partie inférieure gauche de l’interface. • Pos. Bender Range : modifie la plage de pitch bend positive (versle haut) par incréments d’un demi-ton. Vous pouvez ainsi utiliser le contrôleur de pitch bend de votre clavier pour ajuster le pitch bend de l’ES P. • Neg. Bender Range : la valeur Neg. par défaut du paramètre Plage Bender PB pos. (Pitch Bend positif). Cela signifie que seul un pitch bend positif est disponible. Vous pouvez régler la plage de pitch bend négative (vers le bas) par demi-tons jusqu’à 2 octaves (valeur 24). • Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. Chapitre 2 ES M 21 L'ES P à 8 voix (ES Poly) imite lessynthétiseurs polyphoniques classiques des années 1980. Il s'agit d'un instrument versatile capable de produire une très large gamme de sons musicaux. Les sons classiques de cuivres synthétiques analogiques ne sont qu’une de ses nombreuses spécialités. L’ES P produit des sons par synthèse soustractive. Il utilise un oscillateur qui génère des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES P (p 24) • Utilisation des oscillateurs ES P (p 25) • Utilisation du LFO de l’ES P (p 25) • Utilisation du filtre de l’ES P (p 26) • Utilisation des commandes Envelope et Level de l’ES P (p 28) • Utilisation d’effets ES P intégrés (p 29) • Paramètres étendus de l’ES P (p 29) 23 ES P 3 Présentation de l’interface de l’ES P Avant de découvrir les paramètres de l’ES P, cette rubrique vous permet de vousfamiliariser avec les différents éléments de l’interface graphique de ce logiciel. Paramètres Filter Paramètres Effect Paramètres d’enveloppe Paramètres LFO Paramètres Level Paramètres des oscillateurs • Paramètres Oscillator : les curseurs Oscillator s’affichent dans la zone située à gauche. Les paramètres Octave se trouvent également dans cette section. Les oscillateurs génèrent lesformes d’onde élémentaires qui constituent la base de votre son. Consultez Utilisation des oscillateurs ES P. • Paramètres LFO : les paramètres LFO (situés à droite des paramètres Oscillator) sont utilisés pour moduler le son. Consultez Utilisation du LFO de l’ES P. • Paramètres Filter: la colonne verticale située au centre inclut les potentiomètres(Cutoff) Frequency et Resonance, ainsi que les boutons Key Follow. Le filtre sert à définir le contour des formes d’onde envoyées par les oscillateurs. Consultez Utilisation du LFO de l’ES P. • Paramètres Envelope et Level : la zone à droite des paramètres Filter contient les paramètres Envelope et Level, qui contrôlent le niveau de son au fil du temps. Consultez Utilisation des commandes Envelope et Level de l’ES P. • Paramètres Effect : la zone située le plus à droite contient les paramètres Chorus et Overdrive. Ces paramètres peuvent être utilisés pour colorer ou épaissir le son. Consultez Utilisation d’effets ES P intégrés. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres étendus de l’ES P. 24 Chapitre 3 ES P Utilisation des oscillateurs ES P L’ES P présente plusieurs oscillateurs qui émettent différentesformes d’onde. Cessignaux peuvent être mixés ensemble, à différents niveaux, ce qui offre d’innombrables variations de « matière » à utiliser pour vos sons. • CurseursOscillator : définissez le niveau de sortie desformes d’onde par les oscillateurs. • En plus des ondes triangulaires, en dent de scie et rectangulaires, des ondes rectangulaires de deux sous-oscillateurs sont également disponibles. L’équilibreur de l’oscillateur secondaire de gauche est une octave en dessous des oscillateurs principaux et l’équilibreur de l’oscillateur secondaire de droite est deux octaves en dessous. Utilisez-les pour épaissir le son. • La largeur d’impulsion de toutes les ondes rectangulaires est fixée à 50 pour cent. • L’équilibreursitué tout à fait à droite permet d’ajouter du bruit blanc au mixage. C’est la « matière première » des effets sonores des synthétiseurs classiques, comme ceux évoquant les vagues de l’océan, le vent et les hélicoptères. • Boutons 4, 8 et 16 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 16 pieds, le plus aigu est 4 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus la tonalité est profonde. Utilisation du LFO de l’ES P L’ES P présente un LFO (oscillateur basse fréquence), qui peut effectuer les actions suivantes : • Moduler la fréquence des oscillateurs, ce qui se traduit par un vibrato. Chapitre 3 ES P 25 • Moduler la fréquence de coupure du filtre passe-bas dynamique, ce qui se traduit par un effet wah wah. • Potentiomètre Vib/Wah : tournez-le vers la gauche pour définir un vibrato ; tournez-le vers la droite pour moduler le filtre de façon cyclique. • Potentiomètre Speed : définit la vitesse du vibrato ou de la modulation de fréquence de coupure. Utilisation du filtre de l’ES P L’ES P est muni d’un filtre passe-bas vous permettant de définir le contour de la sortie de l’oscillateur. • Potentiomètre Frequency : contrôle la fréquence de coupures du filtre passe-bas de l’ES P. 26 Chapitre 3 ES P • Potentiomètre Resonance : amplifie/coupe les portions du signal qui entourent la fréquence définie par le potentiomètre Frequency. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. L’ES P compense cet effet secondaire en interne, ce qui donne un son avec plus de basses. • Boutons 1/3, 2/3, 3/3 (Key Follow) : la fréquence de coupure peut être modulée par un numéro de note MIDI (position sur le clavier) ; vous connaissez peut-être ce paramètre sousle nom de keyboard follow sur d’autressynthétiseurs. Activez l’un des boutons 1/3, 2/3, 3/3 pour sélectionner un suivi du clavier d’un tiers, deux tiers ou complet. Si aucun bouton n’est actif, la touche enfoncée n’a pas d’incidence sur la fréquence de coupures. Ainsi, les notes graves auront un son relativement plus clair que celui des notes aiguës. Si vous sélectionnez 3/3, le filtre suit la hauteur tonale, afin que la relation entre la fréquence de coupure et la hauteur tonale soit constante. Cela est caractéristique de beaucoup d’instruments acoustiques pour lesquelsles notesles plus aiguës présentent une tonalité plus claire et une hauteur tonale plus élevée. • Potentiomètre ADSR : définit la valeur (profondeur) de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe (consultez Utilisation des commandes Envelope et Level de l’ES P). • Potentiomètre Velo Filter : détermine la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Le générateur d’enveloppe principal (ADSR) module la fréquence de coupure pendant toute la durée d’une note. L’Intensité de cette modulation peut répondre aux informations sur la vélocité. Si vous jouez pianissimo (Vélocité = 1), la modulation est minimale. Si vous jouez vraiment fortissimo (Vélocité = 127), la modulation est plus intense. Chapitre 3 ES P 27 Utilisation des commandes Envelope et Level de l’ES P L’ES P présente une enveloppe ADSR qui a une incidence sur la fréquence de coupure (ADSR Int) et le niveau sonore au fil du temps. Cette rubrique couvre également les paramètres de commande de niveau principal. • Curseur Attack : détermine la durée requise par le signal pour atteindre le niveau initial souhaité (niveau sustain). • Curseur Decay : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau sustain. • Curseur Sustain : détermine le niveau de signal souhaité (niveau sustain). • Curseur Release : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau sustain. • Potentiomètre Volume : définit le niveau de sortie global de l’ES P. • Potentiomètre Velo Volume : détermine la sensibilité à la vélocité vers les événements des notes MIDI entrantes. Lorsqu’elle est définie sur des valeurs plus élevées, chaque note est plusforte,si elle est jouée avec plus de fermeté. Avec des valeurs moins élevées, la réponse dynamique est réduite, afin qu’il y ait moins de différence lorsque vousjouez une note pianissimo (avec légèreté) ou forte (avec force). 28 Chapitre 3 ES P Utilisation d’effets ES P intégrés L’ES P offre des effets Chorus et Overdrive stéréo. Ilssont baséssur des processeurs d’effets similaires qui se situent sur les synthétiseurs japonais abordables des années 1980, que l’ES P, lui-même, émule. • Potentiomètre Chorus : règle l’intensité (profondeur) de l’effet chorus intégré. • Potentiomètre Overdrive : détermine le niveau d’overdrive/distorsion de la sortie de l’ES P. Important : pour éviter de nuire à vos oreilles ou d’endommager vos haut-parleurs, pensez à réduire le niveau du volume avant de définir Overdrive sur une valeur élevée, puis augmentez le volume progressivement. Paramètres étendus de l’ES P L’ES P propose trois paramètres supplémentaires auxquels vous pouvez accéder en cliquant sur le triangle d’affichage situé dans la partie inférieure gauche de l’interface. • Pos. Bender Range : change la plage du Pitch Bend vers le haut par demi-ton. Vous pouvez ainsi utiliser le contrôleur de pitch bend de votre clavier pour ajuster le pitch bend de l’ES P. • Neg. Bender Range : la valeur Neg. par défaut du paramètre Neg Bender Range est Pos PB (Pitch Bend positif). Cela signifie que seul un pitch bend positif est disponible. Vous pouvez régler la plage du Pitch Bend vers le bas par demi-ton jusqu’à 2 octaves (une valeur de 24). • Champ Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. Chapitre 3 ES P 29 L’ES1 émule les circuits des synthétiseurs analogiques dans une interface efficace et très simple. L’ES 1 produit des sons par synthèse soustractive. Il utilise un oscillateur et un oscillateur secondaire qui génèrent des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Le système de génération de tonalités de l’ES1 offre également des options de modulation flexibles qui facilitent la création de basses dynamiques, de nappes atmosphériques, de solos mordants et de percussions nettes. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseursSynthesizer Basics, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différents systèmes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES1 (p 32) • Utilisation des oscillateurs de l’ES1 (p 33) • Utilisation des paramètres Filter de l’ES1 (p 35) • Utilisation des paramètres Amplifier de l’ES1 (p 37) • Utilisation des paramètres Envelope de l’ES1 (p 38) • Modulation du son de l’ES1 (p 40) • Ajustement des paramètres globaux de l’ES1 (p 44) • Liste des contrôleurs MIDI de l’ES1 (p 45) 31 ES1 4 Présentation de l’interface de l’ES1 Avant que vous découvriez les paramètres de l’ES1, cette rubrique vous permet de vous familiariser avec les différents éléments constituant l’interface graphique de l’ES1, qui se compose de six zones principales. Paramètres des oscillateurs Paramètres Filter Paramètres Amplifier Paramètres globaux Paramètres de la section Modulation Paramètres d’enveloppe • Paramètres Oscillator : affichés à gauche, les oscillateurs génèrent les formes d’onde simplifiées qui constituent la base de votre son. Consultez Utilisation des oscillateurs de l’ES1. Plusieurs paramètres associés, qui influencent directement le son général, comme Tune, se trouvent dans la rubrique des paramètres globaux de l’interface. Consultez Ajustement des paramètres globaux de l’ES1. • Paramètres Filter : ces paramètres incluent la zone circulaire Filter, ainsi que les paramètres Drive et Key scaling. Le filtre sert à définir les formes d’onde envoyées par les oscillateurs. Consultez Utilisation des paramètres Filter de l’ES1. • Paramètres Amplifier : la zone à droite contient les paramètres Amplifier. Consultez Utilisation des paramètres Amplifier de l’ES1. • Paramètres Envelope : les curseurs ADSR situés dans le coin inférieur droit de l’ES1 vous permettent de contrôler la fréquence de coupure du filtre et le niveau d’amplification dans le temps. Consultez Utilisation des paramètres Envelope de l’ES1. • Paramètres Modulation : la zone vert foncé/gris contient les sources de modulation, le routeur de modulation, l’enveloppe de modulation et l’enveloppe d’amplitude, que vous pouvez utiliser pour moduler le son de plusieurs manières. Consultez Modulation du son de l’ES1. • Paramètres globaux : les paramètres globaux de contrôle du son sontsituéssur la bande inférieure vert/gris. C’est à partir de cette bande que vous pouvez assigner et ajuster l’accord global, activer les chœurs intégrés, etc. Les chœurs peuvent être utilisés pour colorer ou épaissir le son. Consultez Ajustement des paramètres globaux de l’ES1. 32 Chapitre 4 ES1 Utilisation des oscillateurs de l’ES1 L’ES1 présente un oscillateur principal et un oscillateur secondaire. L’oscillateur principal génère une forme d’onde, qui est ensuite envoyée à d’autres parties du synthétiseur pour être traitée ou manipulée. L’oscillateur secondaire génère une forme d’onde secondaire, située une ou deux octaves en dessous de celle de l’oscillateur principal. • Potentiomètre Wave : sélectionne la forme d’onde de l’oscillateur principal, qui est responsable de la couleur de base de la tonalité. Consultez Réglage des formes d’onde de l’oscillateur de l’ES1. • Curseur Mix : définit la relation de niveau entre les signaux de l’oscillateur principal et de l’oscillateur secondaire. Lorsque l’oscillateur secondaire est désactivé, sa sortie est complètement supprimée du chemin du signal. • Potentiomètre Sub : l’oscillateur secondaire génère des formes d’onde carrées, pulsées et de bruit blanc. Il vous permet également de router un signal de side chain par l’intermédiaire du moteur du synthétiseur de l’ES1 (consultez Utilisation de l’oscillateur secondaire de l’ES1). • Boutons 2, 4, 8, 16, 32 : ces boutons transposent la hauteur tonale des oscillateurs verticalement par octaves. Le réglage le plus grave est 32 pieds et le plus aigu, 2 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long et large, plus la tonalité est profonde (pour obtenir une description des paramètres Tune globaux, consultez Ajustement des paramètres globaux de l’ES1). Réglage des formes d’onde de l’oscillateur de l’ES1 Le tableau suivant vous donne un aperçu de l’effet de la forme d’onde de l’oscillateur sur le son de votre synthétiseur. Waveform Tonalité de base Commentaires Utile pour les sons de cordes, de pads, de basses et de cuivres En dents de scie Chaude et régulière Chapitre 4 ES1 33 Waveform Tonalité de base Commentaires Utile pour les flutes et les coussins Son doux, pluslisse que la forme en dents de scie Triangle Utile pour les basses, les clarinettes et les hautbois. Square Son creux de bois Parfait pour les instruments à anches, les anomalies synthétiques et les basses Pulsée Son nasal Utilisation de la modulation d’impulsions en durée dans l’ES1 Vous pouvez choisir n’importe quelle largeur d’impulsion comprise entre les symboles d’onde carrée et d’onde pulsée du potentiomètre Wave. La largeur d’impulsion peut également être automatiquement modulée dans la rubrique de modulation (consultez Utilisation du routeur de l’ES1). Par exemple, une modulation de la largeur d’impulsion à l’aide d’un LFO à cycle lent permet de rendre provisoirement muets les sons de basses graves. Utilisation de l’oscillateur secondaire de l’ES1 L’oscillateur secondaire fournit les options de forme d’onde suivantes : • Une onde carrée dont la lecture est située une ou deux octaves en dessous de la fréquence de l’oscillateur principal. • Une onde pulsée dont la lecture est située deux octaves en dessous de la fréquence de l’oscillateur principal. • Variations de ces formes d’onde avec différentes relations de phase et mixage. Leur utilisation se traduit par différents sons. • Le bruit blanc est utile pour la création de sons de percussions ou encore de sons de vent, de surf et de pluie. • Vous pouvez également désactiver complètement l’oscillateur secondaire en sélectionnant OFF. Traitement des signaux de side chain par l’intermédiaire de l’ES1 L’oscillateur secondaire de l’ES1 vous permet d’exécuter un signal de tranche de console externe par l’intermédiaire du moteur du synthétiseur de l’ES1, à l’aide d’un side chain. Pour traiter le signal de tranche de console par le biais du moteur du synthétiseur de l’ES1 1 Réglez le potentiomètre Sub sur EXT. 2 Dans le menu Side Chain, sélectionnez la tranche de console source du side chain, en haut de la fenêtre du module. 34 Chapitre 4 ES1 Utilisation des paramètres Filter de l’ES1 Cette rubrique décrit les paramètres de filtre de l’ES1. • Curseur Cutoff : contrôle la fréquence de coupures du filtre passe-bas de l’ES1. • Curseur Resonance : coupe ou amplifie les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Cette amplification peut être définie de façon si intense que le filtre commence à osciller par lui-même (consultez Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation). Astuce : vous pouvez ajuster simultanément les paramètres Cutoff et de Resonance en faisant glisser verticalement (cutoff) ou horizontalement (resonance) sur le mot Filter, qui se situe entre les boutons Slope. • Boutons Slope : le filtre passe-bas offre quatre pentes différentes de rejet de bandes au-dessus de la fréquence de coupure. Les quatre réglages sont organisés dans le sens horaire, le premier étant situé en haut à gauche, comme suit : • 24 dB classic : imite le comportement d’un filtre Moog. Si vous augmentez la résonance, la partie basse du signal est réduite. • 24 dB fat : compense la réduction du contenu basse fréquence causée par des valeurs de résonance élevées. Cela ressemble au comportement d’un filtre Oberheim. • 120 dB : produit un son doux et homogène qui rappelle celui des premiers Oberheim SEM. • 18 dB : tend à faire ressembler le son du filtre à celui du TB-303 de Roland. • Curseur Drive : contrôle de niveau d’entrée, qui vous permet de faire un overdrive du filtre. Ce paramètre vous permet de modifier le comportement du paramètre Resonance, ce qui se traduit finalement par une distorsion du son de la forme d’onde. Chapitre 4 ES1 35 • Curseur Key : contrôle le volume de modulation de la fréquence de coupures du filtre par la hauteur tonale du clavier (numéro de note) : • Si le paramètre Key est réglé sur zéro, la fréquence de coupure reste inchangée, quelle que soit la note jouée. Ainsi, les notes graves auront un son relativement plus clair que celui des notes aiguës. • Si le paramètre Key est réglé sur la valeur maximale, le filtre suit la tonalité, afin que la relation entre la fréquence de coupure et la tonalité soit constante. Cela reflète les propriétés de plusieurs instruments acoustiques pour lesquels les notes les plus aiguës présentent une tonalité plus claire et une hauteur tonale plus élevée. • Curseur ADSR via Vel : détermine l’impact de la vélocité de note sur la modulation de la fréquence de coupure du filtre, causé par le générateur d’enveloppe (consultez Utilisation des paramètres Envelope de l’ES1). Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation Vous pouvez transformer la sortie du filtre de l’ES1 en onde sinusoïdale en procédant comme suit. Cela vous permettra de « lire » l’onde sinusoïdale générée par le filtre à l’aide du clavier. Pour sortir une onde sinusoïdale du filtre 1 Basculez le potentiomètre Sub sur OFF. 2 Déplacez le curseur Mix tout en bas (Sub). 3 Tournez le potentiomètre Resonance en position maximale. 36 Chapitre 4 ES1 Utilisation des paramètres Amplifier de l’ES1 Les paramètres de la rubrique d’amplification de l’ES1 vous permettent d’affiner le comportement de votre niveau de son. Ces paramètressont distincts du paramètre global Out Level, situé sur la bande au bas de l’interface et qui représente le volume principal de l’ES1 (consultez la rubrique Ajustement des paramètres globaux de l’ES1). • Curseur Level via Vel : détermine l’impact de la vélocité de note sur le niveau du synthétiseur défini par le paramètre global Out Level. La flèche du haut du curseur indique le niveau lorsque vous jouez fortissimo. La flèche du bas indique le niveau lorsque vous jouez pianissimo (vélocité =1). Plus la distance est importante entre les flèches (indiquées par une barre bleue), plus le volume est affecté par les messages de vélocité entrants. Vous pouvez ajuster simultanément la plage et l’intensité de modulation en faisant glisser la barre bleue entre les flèches et en déplaçant les deux flèches en même temps. • Boutons du sélecteur de l’enveloppe d’amplification : les boutons AGateR, ADSR et GateR définissent quelles commandes du générateur d’enveloppe ADSR ont une incidence sur l’enveloppe d’amplification (consultez Utilisation de l’enveloppe pour contrôler l’ampli de l’ES1). Chapitre 4 ES1 37 Utilisation des paramètres Envelope de l’ES1 L’ES1 présente une enveloppe (ADSR) d’attaque, de chute, de tenue et de relâchement qui peut former la fréquence de coupure du filtre et le niveau du son dans le temps. • Curseur Attack : détermine la durée requise par l’enveloppe pour atteindre le niveau initial souhaité. • Curseur Decay : détermine la durée requise par l’enveloppe pour atteindre le niveau de sustain, en suivant le temps d’attaque initial. • Curseur Sustain : définit le niveau de sustain, qui est maintenu jusqu’au relâchement de la touche du clavier. • Curseur Release : détermine la durée requise par l’enveloppe pour retomber à un niveau nul, en partant du niveau de sustain. Utilisation de l’enveloppe pour contrôler la fréquence de coupure de l’ES1 Le générateur d’enveloppe module la fréquence de coupure du filtre pendant toute la durée d’une note. L’intensité de cette modulation et sa réponse aux informations de vélocité sont définies par les flèches du curseur ADSR via Vel (dans la section des paramètres de filtre). Curseur ADSR via Vel 38 Chapitre 4 ES1 La plage de modulation est déterminée par les deux flèches. La quantité minimale de modulation est indiquée par la flèche du bas. La flèche supérieure indique la quantité maximale de modulation. La barre bleue entre les flèches illustre la plage dynamique de cette modulation. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre bleue et en déplaçant les deux flèches en même temps. Astuce : si ces paramètres sont nouveaux pour vous, définissez Cutoff sur une valeur basse, Resonance sur une valeur élevée et déplacez les deux flèches ADSR via Vel vers le haut. Jouez une note de manière constante sur le clavier tout en modifiant les flèches pour connaître le fonctionnement de ces paramètres. Utilisation de l’enveloppe pour contrôler l’ampli de l’ES1 Les boutons AGateR, ADSR et GateR (dansla rubrique du paramètre Amplifier) définissent quelles commandes du générateur d’enveloppe ADSR ont une incidence sur l’enveloppe d’amplification. Tous les paramètres ADSR restent actifs pour le filtre. Boutons du sélecteur de l’enveloppe d’amplification Les lettres A, D, S et R font référence aux phases d’attaque, de chute, de tenue et de relâchement de l’enveloppe (consultez Utilisation des paramètres Envelope de l’ES1). Gate fait référence à un signal de commande utilisé dans les synthétiseurs analogiques qui indique à un générateur d’enveloppe qu’une touche est enfoncée. Tant qu’une touche de synthétiseur analogique reste enfoncée, le signal Gate garde une tension constante. Lorsque Gate est utilisé comme source de modulation dans l’amplificateur contrôlé en tension (et non dans l’enveloppe elle-même), il crée une enveloppe de type orgue sans aucun paramètre Attack, Decay ou Release-an, pour un son régulier et tenu. Chapitre 4 ES1 39 Dansl’ES1, les boutons du sélecteur d’enveloppes d’amplification présentent l’effetsuivant sur les notes jouées : • AGateR : les curseurs Attack et Release de l’enveloppe ADSR contrôlent les phases d’attaque et de libération du son. Pendant ces phases, le signal de commande Gate est utilisé pour maintenir un niveau constant pendant que la note est maintenue. La phase de libération commence dès le relâchement de la touche. Les curseurs Decay et Sustain de l’enveloppe ADSR n’ont pas d’incidence sur le niveau du son. • ADSR : il s’agit du mode de fonctionnement standard de la plupart des synthétiseurs, dans lequel le niveau sonore dans le temps est entièrement contrôlé par l’enveloppe ADSR. • GateR : le signal de commande Gate est utilisé pour maintenir un niveau constant pendant que la note est maintenue. La phase de libération commence dès le relâchement de la touche. Les curseurs Attack, Decay et Sustain de l’enveloppe ADSR n’ont pas d’incidence sur le niveau du son. Modulation du son de l’ES1 L’ES1 offre plusieurs options de routage de modulation simples, tout en étant flexibles. La modulation est utilisée pour ajouter de l’animation à votre son dans le temps, en le rendant plusintéressant, plus dynamique ou plusréaliste. Le vibrato utilisé par lesjoueurs d’instruments à cordes en orchestre illustre bien ce type d’animation sonore. Enveloppe de modulation Paramètres LFO Router • Paramètres LFO : utilisés pour moduler les autres paramètres de l’ES1. Consultez Utilisation du LFO de l’ES1. • Router : vous permet de choisir quels paramètres de l’ES1 sont modulés. Consultez la rubrique Utilisation du routeur de l’ES1 ci-dessous. • Enveloppe Modulation : source de commande de modulation dédiée, elle peut directement contrôler les autres paramètres de l’ES1 ou le niveau de LFO. Consultez Utilisation de l’enveloppe de modulation de l’ES1. 40 Chapitre 4 ES1 Utilisation du routeur de l’ES1 Le routeur permet de déterminer quels paramètres de l’ES1 sont modulés par le LFO (consultez Utilisation du LFO de l’ES1) et/ou par l’enveloppe de modulation (consultez Utilisation de l’enveloppe de modulation de l’ES1). Les boutons de cible de paramètre de la colonne gauche activent la modulation LFO, ceux de la colonne droite définissent la cible de l’enveloppe de modulation. Boutons cibles des paramètres • Boutons Pitch : activez ces boutons pour moduler la hauteur tonale ou fréquence des oscillateurs. • Boutons Pulse Width : activez ces boutons pour moduler la largeur d’impulsion de l’onde pulsée. • BoutonsMix : activez ces boutons pour moduler le mixage entre les oscillateurs principal et secondaire. • Boutons Cutoff : activez ces boutons pour moduler la fréquence de coupure du filtre. • Boutons Resonance : activez ces boutons pour moduler la résonance du filtre. • Boutons Volume : activez ces boutons pour moduler le volume principal. • Bouton Filter FM (enveloppe de modulation uniquement) : activez ce bouton pour utiliser l’onde triangulaire de l’oscillateur afin de moduler la fréquence de coupure du filtre. Cette modulation peut entraîner une pseudo-distorsion du son ou créer des sons métalliques, de style FM. Ces derniers se produisent lorsque le seul signal entendu est l’auto-oscillation du filtre de résonance (consultez Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation). • LFO Amp (enveloppe de modulation uniquement) : activez ce bouton pour moduler le volume global de modulation LFO. Chapitre 4 ES1 41 Utilisation du LFO de l’ES1 Le LFO (oscillateur basse fréquence) génère une forme d’onde cyclique, ajustable, qui peut être utilisée pour moduler d’autres paramètres de l’ES1 (comme indiqué dans la rubrique Utilisation du routeur de l’ES1). • Potentiomètre Wave : définit la forme d’onde du LFO. Vous pouvez faire votre choix parmi une forme d’onde triangulaire, en dents de scie ascendantes et descendantes, une onde carrée, Sample & Hold (aléatoire) et une onde aléatoire décalée dont la forme change en douceur. Chacune de ces formes d’onde évolue de sa propre manière, en offrant différents types de modulation. Vous pouvez également assigner un signal Side Chain comme source de modulation (EXT). Dans le menu Side Chain, sélectionnez la tranche de console source du side chain, en haut de la fenêtre du module. • Champ et curseur Rate : définit la vitesse ou fréquence des cycles de forme d’onde du LFO. • Si vous choisissez des valeurssituées à gauche du zéro, la phase du LFO est verrouillée sur le tempo de l’application hôte, avec des durées de phase ajustables entre 1/96 de mesure et 32 mesures. Si vous optez pour des valeurs situées à droite du zéro, la phase du LFO peut évoluer librement. • S’il est défini sur zéro, le LFO produit un niveau constant et complet, ce qui vous permet de contrôler manuellement la vitesse du LFO avec la roulette de modulation de votre clavier. Cela pourrait être utile, notamment pour modifier la largeur d’impulsion en actionnant la roulette de modulation du clavier. La largeur d’impulsion seraitsélectionnée comme cible de modulation du LFO (colonne du routeur gauche) et la plage d’intensité de modulation serait déterminée par le réglage Int via Whl. • Curseur Int via Whl : la flèche du haut définit l’intensité de modulation du LFO si la roulette de modulation (contrôleur MIDI 1) est réglée sur sa valeur maximale. La flèche du bas définit l’intensité de modulation du LFO si la roulette de modulation est réglée sur zéro. La distance entre lesflèches, représentée par une barre verte, indique la portée de la roulette de modulation de votre clavier. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre verte, en déplaçant ainsi les deux flèches en même temps. En procédant ainsi, la distance relative entre les deux flèches est préservée. 42 Chapitre 4 ES1 Utilisation de l’enveloppe de modulation de l’ES1 L’enveloppe de modulation vous permet de définir des enveloppes de chute de type percussif en sélectionnant des valeurs basses ou des enveloppes de type attaque présentant des valeurs élevées. • Champ et curseur Form : vous permet d’effectuer un fondu entrant (attaque) ou un fondu sortant (chute) de la modulation. Une fois définie en position complète, l’enveloppe de modulation est désactivée. • Curseur Int via Vel : la flèche du haut contrôle le réglage de l’intensité de modulation supérieure associée à l’enveloppe de modulation, si vous frappez une touche selon le paramètre fortissimo le plus élevé (vélocité = 127). La flèche du bas contrôle le réglage de l’intensité de modulation inférieure associée à l’enveloppe de modulation, si vous frappez une touche selon le paramètre pianissimo le plus doux (vélocité = 1). La barre verte entre les flèches illustre l’impact de la sensibilité à la vélocité sur l’enveloppe de modulation ou sur l’intensité de cette dernière. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre verte, en déplaçant ainsi les deux flèches en même temps. En procédant ainsi, la distance relative entre les deux flèches est préservée. Contrôle des paramètres de l’ES1 et du LFO avec l’enveloppe de modulation L’enveloppe de modulation peut moduler directement le paramètre sélectionné dans le routeur. Elle détermine essentiellement le temps requis pour un fondu entrant ou sortant de la modulation. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation eststatique : aucun fondu entrant ou sortant ne se produit. Une fois définie sur sa valeur complète, elle offre un niveau constant. Pour moduler un paramètre avec la vélocité 1 Sélectionnez une destination de modulation (Pulse Width, par exemple). 2 Définissez Form sur complet et ajustez le paramètre Int via Vel comme nécessaire. Cela se traduit par une modulation sensible à la vélocité de la largeur d’impulsion de l’oscillateur. Encore plus intéressant, l’enveloppe de modulation peut directement contrôler le niveau LFO lorsque vous cliquez sur le bouton LFO Amplitude dans la colonne de droite du routeur. Chapitre 4 ES1 43 Pour définir le fondu entrant ou sortant de la modulation du LFO µ Sélectionnez une valeur Form positive (vers attaque) pour effectuer un fondu entrant de la modulation du LFO. Plus la valeur est élevée, plus il faut de temps pour entendre la modulation. µ Sélectionnez une valeur négative (vers chute) pour effectuer un fondu sortant de la modulation du LFO. Plus la valeur est basse (proche de complet), plus le temps de fondu sortant est court. La commande du LFO avec les enveloppes est le plus souvent utilisée pour retarder le vibrato : cette technique est utilisée par de nombreux instrumentalistes et chanteurs pour tenir les notes longues. Pour retarder le vibrato 1 Positionnez le paramètre Form vers la droite (attaque). 2 Sélectionnez Pitch comme cible du LFO (colonne gauche). 3 Choisissez l’onde triangulaire comme forme d’onde LFO. 4 Sélectionnez une fréquence LFO d’environ 5 Hz. 5 Réglez la flèche supérieure Int via Wheel sur une valeur basse et la flèche inférieure sur 0. Ajustement des paramètres globaux de l’ES1 Cette rubrique couvre les paramètres globaux qui ont une incidence sur le son global ou le comportement de l’ES1. Les paramètres globaux se trouvent dans la bande qui s’étend le long du bord inférieur de l’interface de l’ES1. Le curseur Glide s’affiche au-dessus de l’extrémité gauche de la bande. • Curseur Glide : définit le temps requis pour glisser entre les hauteurs tonales de chaque note déclenchée. Le comportement du déclencheur Glide dépend de la valeur choisie pour le paramètre Voices (consultez ce qui suit). • Champ Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. • Champ Analog : il modifie légèrement la hauteur tonale de chaque note, ainsi que la fréquence de coupure, de manière aléatoire. Cela entraîne l’émulation du désaccord de l’oscillateur aléatoire et les fluctuations du filtre qui peuvent se produire dans les synthétiseurs analogiques polyphoniques, en raison de la chaleur et du vieillissement. • Champ Voice : règle le nombre maximal de notes pouvant être lues simultanément. Chaque instance de l’ES1 offre un maximum de 16 voix. Si vous jouez moins de voix, vous aurez besoin de moins de ressources système. 44 Chapitre 4 ES1 • Champ Bender Range : modifie la sensibilité du pitch bender. Les ajustements sont faits par étapes de demi-ton. • Curseur Neg Bender Range (zone Extended Parameters) : ajuste la plage de pitch bend négatif (vers le bas) par demi-ton. La valeur par défaut est Pos PB (Pitch Bend positif), ce qui signifie avant tout qu’aucun pitch bend vers le bas n’est disponible. Cliquez sur le petit triangle situé tout en bas à gauche de l’interface de l’ES1 pour accéder à la zone Extended parameters. • Champ Chorus: l’ES1 offre deux effets Chorus stéréo classiques et un effet d’ensemble. • Off désactive le circuit Chorus intégré. • C1 et C2 constituent des effets Chorus typiques. C2 est une variation de C1 et se caractérise par une modulation plus forte. • Ens (Ensemble) fait appel à une routine de modulation plus complexe, qui crée un son plus riche et plus dense. • Champ Out Level : contrôle le volume principal de l’ES1. Utilisation du paramètre Analog de l’ES1 Si le paramètre Analog a la valeur zéro, les points de départ de chaque cycle d’oscillateur de toutes les voix déclenchées sont synchronisés. Cela peut s’avérer utile pour les sons percussifs, lorsque vous cherchez à obtenir une caractéristique d’attaque plus franche. L’utilisation de valeurs Analog supérieures à zéro permet au cycle des oscillateurs de toutes les voix déclenchées d’évoluer librement. Utilisez des valeurs plus élevées si vous voulez obtenir un son chaud de type analogique, où des variations sonores subtiles se produisent pour chaque voix déclenchée. Utilisation du paramètre Voices dans l’ES1 Lorsque le paramètre Voices est défini sur Legato, l’ES1 se comporte comme un synthétiseur monophonique, à déclencheur simple et avec la fonction Fingered portamento activée. Ce qui signifie que si vous jouez legato, un portamento se produit (le temps de portamento est défini par le curseur Glide). Si vous relâchez chaque touche avant d’appuyer sur une nouvelle, l’enveloppe ne sera pas déclenchée par la nouvelle note et il n’y aura pas de portamento. Astuce : cette fonction vous permet de créer des effets de pitch bend, sans toucher le pitch bender. Assurez-vous donc de sélectionner une valeur Glide plus élevée lors de l’utilisation du réglage Legato. Liste des contrôleurs MIDI de l’ES1 L’ES1 répond aux numéros des contrôleurs continus MIDI suivants (CC). Chapitre 4 ES1 45 Numéro de contrôleur Nom de paramètre 12 Boutons de tonalité de l’oscillateur 13 Forme d’onde de l’oscillateur 14 Curseur Mix 15 Forme d’onde de l’oscillateur secondaire 16 Curseur Drive 17 Curseur Cutoff 18 Curseur Resonance 19 Boutons Slope 20 ADSR via Vel : curseur inférieur 21 ADSR via Vel : curseur supérieur 22 Curseur Attack 23 Curseur Decay 24 Curseur Sustain 25 Curseur Release 26 Curseur Key 27 Boutons du sélecteur de l’enveloppe d’amplification 28 Curseur inférieur Level via Velocity : 29 Curseur supérieur Level via Velocity : 30 Paramètre Chorus 31 Cible de l’enveloppe de modulation 102 Curseur de forme Modulation Envelope 103 Enveloppe de modulation : paramètre Int via Vel : curseur inférieur 104 Enveloppe de modulation : paramètre Int via Vel : curseur supérieur 105 Fréquence du LFO 106 Forme d’onde du LFO 107 Cible de modulation du LFO 108 LFO : Int via Whl : curseur inférieur 109 LFO : Int via Whl : curseur supérieur 110 Curseur Glide 111 Paramètre Tune 112 Paramètre Analog 113 Paramètre Bender Range 114 Paramètre Out Level 115 Paramètre Voices 46 Chapitre 4 ES1 Le synthétiseur ES2 associe un puissant moteur de synthèse sonore à de nombreuses fonctions de modulation. Il associe de manière homogène la synthèse soustractive et les éléments FM aux méthodes de synthèse à table d’ondes, afin de générer une extraordinaire variété de sons. C’est donc le synthétiseur idéal pour créer des ensembles puissants, des textures élaborées, des basses riches ou des cuivres synthétiques. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir les bases et la terminologie associées aux différents systèmes de synthèse. Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'ES2 (p 48) • Présentation de l’interface ES2 (p 49) • Utilisation des oscillateurs de l’ES2 (p 50) • Utilisation des paramètres globaux de l’ES2 (p 64) • Utilisation des filtres de l’ES2 (p 66) • Utilisation des paramètres Amplifier de l’ES2 (p 76) • Utilisation de la modulation dans l’ES2 (p 78) • Utilisation de la section de traitement d’effets intégré de l’ES2 (p 112) • Création de variations sonores aléatoires de l’ES2 (p 114) • Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 (p 116) • Utilisation de l’ES2 en mode Surround (p 119) • Guide d’initiation à l’ES2 : création de sons (p 119) • Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons (p 131) 47 ES2 5 Achitecture et fonctionnalités de l'ES2 Les trois oscillateurs de l’ES2 fournissent les formes d’onde classiques des synthétiseurs analogiques (bruit compris) et 100 formes d’onde à cycle unique, connues sous le nom de Digiwaves. Cette matière première forme la base de sons allant des sons analogiques gras aux sons numériques discordants, voire à des hybrides. Vous pouvez également réaliser des transmodulations sur les oscillateurs, pour créer plus facilement des sons de style FM. D’autres options permettent de synchroniser les oscillateurs et d’effectuer des modulations en anneau, ou encore de mixer une onde sinusoïdale directement en phase de sortie, pour épaissir le son. L’ES2 est doté d’un routeur de modulation souple, qui offre jusqu’à dix routages de modulation (définis par l’utilisateur) simultanés. Ils peuvent être utilisés aux côtés d’un certain nombre de routages câblés. Les options de modulation comprennent également le Planar Pad, qui permet de contrôler deux paramètres sur une grille bidimensionnelle. Le Vector Envelope lui-même peut être contrôlé par la fonction sophistiquée qu’est le Vector Envelope. Il s’agit d’une enveloppe multipoint et capable d’utiliser les boucles, qui facilite la création de sons complexes et élaborés. Enfin, les effets Distortion, Chorus, Phaser et Flanger sont intégrés à l’ES2. Si vous préférez entamer votre expérience sur-le-champ, vous pouvez charger un certain nombre de réglages pour vous lancer sans difficulté dans l’utilisation de ce logiciel. Ces réglages sont accompagnés de deux rubriques d’initiation, qui proposent des astuces et des informations et qui vous invitent à découvrir l’ES2. Consultez Guide d’initiation à l’ES2 : création de sons et Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons. Remarque : dans les rubriques qui décrivent les paramètres, vous trouverez souvent des informations concernant l’utilisation des paramètres comme cibles ou sources de modulation. C’est l’une des plus grandes forces de l’ES2 : ses possibilités très étendues quant à la modulation. Nous vous conseillons de lire l’intégralité de ce chapitre avant de revenir aux rubriques traitant des informations de modulation (voir ci-dessous) quand et si vous en avez besoin. Vous trouverez des descriptions d’utilisation de toutes les options de modulation et de contrôle, y comprislestableaux de référence, à la rubrique Utilisation de la modulation dans l’ES2. 48 Chapitre 5 ES2 Présentation de l’interface ES2 Avant de découvrir les paramètres et fonctions de l’ES2, cette rubrique vous permet de vous familiariser avec les différents éléments constituant l’interface graphique de l’ES2, qui comprend les principales zones décrites ci-dessous. Paramètres Random Section Oscillator Cliquez ici pour afficher l’enveloppe Vector. Paramètres Macro Sound Section Effect Paramètres globaux Section Filter Paramètres Amplifier Pavé planaire Contrôles et paramètres Modulation Paramètres globaux Routeur de modulation • Section Oscillator : les paramètres de l’oscillateur s’affichent dans la partie supérieure gauche de l’interface ES2. Le triangle permet de définir les relations de mixage entre les trois oscillateurs. Consultez Utilisation des oscillateurs de l’ES2. • Paramètres globaux : un certain nombre de paramètres globaux associés, qui influencent directement la sortie générale de l’ES2, comme Tune, sont disponibles sur la gauche des oscillateurs, au-dessus des paramètres d’amplification et de filtre. Consultez Utilisation des paramètres globaux de l’ES2. • Section Filter : la zone circulaire Filtre comporte les paramètres FM Drive et Filter. Consultez Utilisation des filtres de l’ES2. • Paramètres Amplifier : la partie supérieure droite, qui contient les paramètres de sortie, vous permet de définir le volume global de l’ES2 et d’ajouter un signal sinusoïdal en phase de sortie. Consultez Utilisation des paramètres Amplifier de l’ES2. Chapitre 5 ES2 49 • Routeur Modulation ou Vector Envelope : la bande noire qui traverse l’interface de l’ES2 en son centre partage l’espace entre le routeur de modulation et le Vector Envelope. Vous pouvez utiliser les boutons situés sur la droite de cette bande pour passer de l’un à l’autre. • Le routeur lie les sources de modulation, telles que les enveloppes et d’autres paramètres affichés dansla partie inférieure de l’interface, à des cibles de modulation, telles que les oscillateurs et les filtres. Consultez Présentation du routeur de modulation de l’ES2. • Le Vector Envelope est un générateur d’enveloppes extrêmementsouple et puissant, qui offre un contrôle approfondi du son. Consultez Présentation de l’enveloppe Vector de l’ES2. • Paramètres et contrôles Modulation : dans la zone immédiatement sous le routeur, vous pouvez attribuer et ajuster les paramètres du générateur de modulation (comme les paramètres LFO et envelope). Consultez Utilisation de la modulation dans l’ES2. • Planar Pad : la zone carrée de la partie supérieure droite est un contrôleur bidimensionnel connu sousle nom de Planar Pad, qui facilite la manipulation simultanée de deux paramètres pouvant être librement attribués. Le Planar Pad peut être contrôlé à l’aide de la souris, d’un autre contrôleur ou de le Vector Envelope. Consultez Utilisation du pavé planaire de l’ES2. • Section Effect : les options de traitement d’effets intégré se situent sur la droite des paramètres Output. Consultez Utilisation de la section de traitement d’effets intégré de l’ES2. • Paramètres Random : utilisés pour rendre les paramètres sonores aléatoires, les paramètres Random se situent sous la zone circulaire Filter. Consultez Création de variations sonores aléatoires de l’ES2. • Paramètres des contrôleurs Macro et MIDI : la zone située dans la fine bande grise de la partie inférieure peut afficher les paramètres Macro ou les assignations du contrôleur MIDI. Les paramètres de sons macro préassignés sont parfaits pour de petites modifications rapides du son de l’ES2 (et des instruments GarageBand basés sur l’ES2). Vous pouvez réassigner des numéros de contrôle MIDI à ces paramètres si vous le souhaitez. Consultez Utilisation des macro-paramètres de contrôle de l’ES2. Utilisation des oscillateurs de l’ES2 Les oscillateurs du synthétiseur permettent de générer une ou plusieurs formes d’onde. Ce signal est ensuite envoyé à d’autres parties du moteur du synthétiseur, pour le mettre en forme, le traiter ou le manipuler. 50 Chapitre 5 ES2 Avant d’évoquer les paramètres, certaines fonctions spéciales disponibles dans la section des oscillateurs de l’ES2 doivent être mentionnées. • Les oscillateurs 2 et 3 sont presque identiques l’un à l’autre, mais ils différent de l’oscillateur 1. • L’oscillateur 1 peut subir des modulations de fréquence provenant de l’oscillateur 2, pour les sons de synthèse FM. • Les oscillateurs 2 et 3 peuvent être synchronisés ou modulés en anneau avec l’oscillateur 1. Ils disposent également d’ondes rectangulaires avec des largeurs d’impulsion fixes définies par l’utilisateur ou des fonctions de modulation d’impulsions en durée (MID). • Vous pouvez utiliser le routeur de modulation pour modifiersimultanément leslargeurs d’impulsion des ondes rectangulaires de l’oscillateur 1 et des ondes rectangulaires synchronisées et modulées en anneau des oscillateurs 2 et 3. Présentation des oscillateurs de l’ES2 La rubrique suivante présente les paramètres disponibles pour chaque oscillateur. Vous trouverez les oscillateurs dans la partie supérieure gauche de l’interface ES2. Potentiomètre Frequency (Coarse) Potentiomètre Wave Mixage des oscillateurs (triangle) Bouton de l’oscillateur activé/désactivé Champ de valeur Frequency (Fine) • Boutons Oscillator on/off : cliquez sur le numéro de l’oscillateur, à droite de chaque oscillateur, pour activer ou désactiver chaque oscillateur indépendamment. Un bouton numérique vert indique un oscillateur actif. Un bouton numérique gris indique un oscillateur inactif. La désactivation d’un oscillateur permet d’économiser la puissance de traitement de l’ordinateur, car vous ne désactivez pas simplement le son, vous l’arrêtez réellement. Chapitre 5 ES2 51 • Potentiomètres Wave : ils déterminent le type de forme d’onde généré par un oscillateur. La forme d’onde définit la couleur tonale de base. Consultez Utilisation des Basic Oscillator Waveforms de l’ES2. • Potentiomètres (Coarse) Frequency : ils permettent de régler la hauteur tonale, par pas d’un demi-ton, pour une plage de ± 3 octaves. Une octave comprend 12 demi-tons, les réglages ±12, 24 et 36 représentent donc des octaves. • Champ de valeur (Fine) Frequency : il permet d’affiner la fréquence (hauteur tonale) de l’oscillateur. Les valeurs sont affichées comme suit : les nombres situés à gauche présentent le réglage des demi-tons et ceux situés à droite le réglage des cents (1 cent = 1 centième de demi-ton). Ils sont respectivement signalés par un s ou un c à droite de la valeur. Vous pouvez ajuster ces deux valeurs séparément. Par exemple, un oscillateur réglé sur 12 s et 30 c sonne une octave (12 demi-tons) et 30 centièmes plus haut qu’un oscillateur réglé sur 0 s, 0 c. • Oscillator Mix (triangle) : le déplacement par glissement de l’icône dans le triangle permet d’effectuer des fondus enchaînés (définition des relations de niveau) entre les trois oscillateurs. Consultez Réglage de la balance de niveau de l’oscillateur dans l’ES2. Utilisation des Basic Oscillator Waveforms de l’ES2 Tous les oscillateurs de l’ES2 produisent un certain nombre de formes d’onde standard (ondes sinusoïdales, pulsées, rectangulaires, en dents de scie et triangulaires), mais également chacune des 100 Digiwaves (consultez Utilisation des Digiwaves dans l’ES2). Le tableau ci-dessous inclut les formes d’onde de base : Waveform Tonalité de base Commentaires Parfaite pour les instruments à anches, les anomalies synthétiques et les basses Pulsée/rectangulaire Son nasal Utile pour les basses, les clarinettes et les hautbois. La largeur d’impulsion des formes d’onde carrées (oscillateurs 2 et 3) peut être régulièrement échelonnée entre 50 pour cent et la plus fine des impulsions. Square Son creux de bois Utile pour les sons de cordes, nappes, basses et cuivres En dents de scie Chaud et régulier Son doux, pluslisse que Utile pour les sons de flûtes et de nappes. la forme en dents de scie Onde triangulaire L’onde sinusoïdale de l’oscillateur 1 peutsubir des modulations de fréquence provenant de l’oscillateur 2. Ce type de modulation constitue le fondement de la synthèse FM (consultez Utilisation de la modulation de fréquence dans l’ES2). Sinusoïdale Ton pur 52 Chapitre 5 ES2 Les oscillateurs 2 et 3 proposent également : • une onde rectangulaire, synchronisée sur l’oscillateur 1 ; • une onde en dents de scie, synchronisée sur l’oscillateur 1 ; • un modulateur en anneau, alimenté par la sortie de l’oscillateur 1 et une onde carrée issue de l’oscillateur 2 ; • un bruit coloré pour l’oscillateur 3 (consultez Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement)). La synchronisation et la modulation en anneau des oscillateurs permettent de créer des spectres harmoniques très complexes et souples. Les principes sous-jacents de la synchronisation des oscillateurssont décrits à la rubrique Synchronisation des oscillateurs de l’ES2. Les principes de la modulation en anneau sont évoqués à la rubrique Utilisation de la modulation en anneau dans l’ES2. Utilisation de la Pulse Width Modulation dans l’ES2 Vous pouvez modifier la couleur tonale des formes d’onde rectangulaires en mettant à l’échelle la largeur des impulsions des formes d’onde sur n’importe quelle valeur. Il s’agit de la modulation d’impulsions en durée. Les fonctions de modulation d’impulsions en durée de l’ES2 sont très étendues. Par exemple, si des ondes rectangulaires sont choisies pour tous les oscillateurs, vous pouvez moduler simultanément la largeur d’impulsion de l’oscillateur 1 et les ondes pulsées synchronisées de l’oscillateur 2 (ou l’onde carrée du modulateur en anneau de l’oscillateur 2) et de l’oscillateur 3. Pour définir une largeur d’impulsion de base dans l’oscillateur 2 ou 3 µ Faites glisser le contrôle rotatif de forme d’onde dans la zone mise en surbrillance dans l’image ci-dessus. Seulsles oscillateurs 2 et 3 vous permettent de définir une largeur d’impulsion « de base » avant toute modulation d’impulsions de durée. Pour configurer un routage de modulation d’impulsions en durée (de l’oscillateur 1) dans le routeur : 1 Choisissez Osc1Wave comme Target. 2 Choisissez LFO 1 comme Source. Chapitre 5 ES2 53 3 Réglez le curseur de valeur de modulation (une valeur de 0,12 est discrète, mais douce). 4 Choisissez une onde sinusoïdale pour LFO 1. 5 Réglez la fréquence de LFO 1 (0,160 Hz convient tout à fait aux mouvements lents). Modulation ES2 Oscillator Pulse Width avec un LFO La modulation d’impulsions en durée (MID) peut être contrôlée automatiquement grâce aux réglages adéquats dans le routeur. Une onde pulsée, avec contrôle de la MID par un LFO défini sur une onde sinusoïdale, rend le son d’un seul oscillateur saisissant, ondoyant et riche de sons dominants. Du point de vue acoustique, il est similaire au son de deux oscillateurs en phase et légèrement désaccordés, l’idéal pour des sons de basses et de nappes soutenus. Le schéma ci-dessous montre une onde pulsée dont la largeur est modulée par un LFO. Vous pouvez clairement observer l’évolution de la largeur desimpulsions dansle temps. Remarque : sélectionnez soigneusement l’intensité et la vitesse de la modulation. En effet, lorsque les impulsions deviennent très étroites (largeur inférieure à 10 pour cent), le volume général diminue et un léger désaccord apparaît. Astuce : les modulations d’impulsions en durée via des générateurs d’enveloppe sensibles à la vélocité engendrent un jeu particulièrement dynamique. Cet effet intéressant convient tout spécialement aux sons percussifs de basses. Utilisation de la modulation de fréquence dans l’ES2 Le principe de la synthèse par modulation de fréquence (FM) a été développé vers la fin des années 60 et au début des années 70 par John Chowning. Il a été popularisé dans les années 80 par la gamme Yamaha de synthétiseurs DX. En termes de synthèse FM pure, l’ES2 ne peut pas être comparé aux DX, maisil est parfaitement capable de créer dessons relevant de cette signature caractéristique. Fonctionnement de la modulation de fréquence En termes simples, la fréquence d’un générateur de signaux, ou oscillateur, est modifiée (modulée) par un autre générateur de signaux. Les valeurs positives du second générateur augmentent la fréquence du premier générateur. Les valeurs négatives réduisent la fréquence. 54 Chapitre 5 ES2 Dans un synthétiseur, ce type de modulation se produit dans la gamme audible. Selon la conception de l’instrument, vous pouvez entendre les signaux émis par le premier oscillateur seul (modulés par l’autre oscillateur) ou par les deux oscillateurs. L’interaction entre les deux générateurs modifie le signal de la forme d’onde du premier oscillateur, introduisant ainsi un certain nombre de nouvelles harmoniques. Ce spectre harmonique peut ensuite être utilisé comme signalsource pour un traitement ultérieur du son, comme le filtrage, le contrôle d’enveloppe, etc. Consultez la rubrique Synthèse par modulation de fréquence (FM) pour plus d’informations. Fonctionnement de la modulation de fréquence dans l’ES2 Dans l’ES2, la fréquence de l’oscillateur 1 (avec une onde sinusoïdale choisie : positionnement à 11 heures pour le potentiomètre Wave) peut être modulée par le signal de sortie de l’oscillateur 2. • Lorsque l’oscillateur 2 émet un signal positif, la fréquence de l’oscillateur 1 augmente. • Lorsque l’oscillateur 2 émet un signal négatif, la fréquence de l’oscillateur 1 baisse. L’effet de l’accélération ou du ralentissement de la fréquence de l’oscillateur 1 dans chaque cycle de forme d’onde constitue une distorsion de la forme d’onde de base. Cette distorsion de la forme d’onde présente un autre avantage, à savoir l’introduction de nouvelles harmoniques audibles. Important : l’influence de toutes les modulations de fréquence réalisées dépend à la fois du rapport de fréquence et de l’intensité de modulation des deux oscillateurs. Pour définir les rapports de fréquence et régler l’intensité de la modulation 1 Réglez les valeurs du paramètre Frequency (coarse et fine) de l’un des oscillateurs, ou des deux. 2 Cliquez dans (ou faites glisser) la gamme de contrôle entre les icônes Sinus et FM, autour du potentiomètre Oscillator 1 Wave. Cela détermine l’amplitude de modulation, ou intensité, de la modulation de fréquence. Chapitre 5 ES2 55 Options de synthèse FM dans le routeur ES2 Vous pouvez également régler l’intensité FM en choisissant la cible de modulation Osc1Wave dans le routeur. • Utilisez des valeurs d’intensité FM moins élevéessi vousrecherchez un effet FM subtil. • Si vous recherchez des modulations FM plus poussées, choisissez la cible Osc1WaveB dans le routeur. Consultez la rubrique Référence des cibles de modulation de l’ES2 pour plus de détails. Utilisation de différentes formes d’onde ES2 pour la synthèse FM La méthode de synthèse FM pure utilise une onde sinusoïdale pour les deux premiers générateurs de signal (les oscillateurs 1 et 2 sont limités à la génération d’une onde sinusoïdale dans l’ES2 si vous suivez cette approche). Toutefois, l’ES2 propose 100 Digiwaves et un nombre infini de combinaisons d’intensités de modulation et de rapports de fréquence, qui peuvent être utilisées pour l’un ou l’autre des oscillateurs. Vous disposez ainsi d’une large réserve de spectres d’harmoniques et de couleurs tonales à tester. Ce serait dommage de ne pas profiter de toutes ces options ! Astuce : le type de modulation se produisant peut varier de manière significative lorsque différentes formes d’onde sont choisies, notamment pour l’oscillateur 2 (oscillateur de modulation). Utilisation de la modulation en anneau dans l’ES2 La modulation en anneau est un outil très efficace pour la création de sonsinharmoniques et métalliques, ressemblant à une cloche. Les spectres résultant de son utilisation sont inharmoniques pour touslesrapports de fréquence ou presque. Le modulateur en anneau est un appareil datant des débuts du synthétiseur. Fonctionnement d’un modulateur en anneau Rappelons qu’un modulateur en anneau possède toujours deux entrées. En sortie, vous entendez à la foislesfréquencessomme et différence dessignaux d’entrée. Si vous utilisez la modulation en anneau sur une cible sinusoïdale de 200 Hz avec une source sinusoïdale de 500 Hz, le signal de sortie du modulateur en anneau est caractérisé par un signal de 700 Hz (somme) et de 300 Hz (différence). Les fréquences négatives conduisent à un changement de polarité des signaux de sortie. Fonctionnement de la modulation en anneau dans l’ES2 Vous pouvez définir l’oscillateur 2 pour qu’il émette un signal de modulateur en anneau en choisissant le réglage Ring avec le potentiomètre Wave de l’oscillateur 2. N’hésitez pas à tester les différentes valeurs de fréquence (principale et affinée) pour l’un des oscillateurs, ou les deux. 56 Chapitre 5 ES2 Le modulateur en anneau de l’oscillateur 2 est alimenté par le signal de sortie de l’oscillateur 1 et par une onde carrée, générée par l’oscillateur 2. La largeur d’impulsion de cette onde carrée peut être modulée (consultez Utilisation de la Pulse Width Modulation dans l’ES2). Astuce : utilisez les signaux d’entrée en dents de scie et rectangulaire (modulés sur la largeur d’impulsion) provenant respectivement des oscillateurs 1 et 2, pour créer un signal de sortie beaucoup plus complexe. L’utilisation de ces formes d’onde riches en harmoniques crée un certain nombre de bandes latérales supplémentaires, devenues audibles. Utilisation des Digiwaves dans l’ES2 Outre les formes d’onde de base du synthétiseur, tous les oscillateurs de l’ES2 fournissent 100 formes d’onde supplémentaires, appelées Digiwaves. Ce sont des échantillons très courts des éléments transitoires d’attaque pour les différents sons et instruments. Pour choisir une Digiwave µ Définissez le potentiomètre Wave sur Sine (position à 6 heures), puis procédez de l’une des manières suivantes : µ Cliquez en maintenant la touche Ctrl enfoncée ou cliquez avec le bouton droit de la souris sur l’étiquette Sine, puis choisissez une forme d’onde dans le menu local. µ Cliquez sur l’étiquette Sine et, tout en maintenant le bouton de la souris enfoncé, faites glisser la souris verticalement. µ Cliquez sur le menu tout en maintenant la touche Maj enfoncée, puis saisissez une valeur pour sélectionner la Digiwave de manière numérique. Chapitre 5 ES2 57 Options ES2 Digiwave Modulation Le numéro assigné à chaque Digiwave est un paramètre modulable. Cette fonction permet à l’ES2 de produire dessonsrappelant lessynthétiseurs classiques à table d’ondes de PPG et Waldorf. Consultez Synthèse par table d’ondes, vecteurs et arithmétique linéaire (AL). Vous pouvez faire défiler automatiquement la liste des Digiwaves en modulant la cible OscWave dans le routeur de modulation. Si vous choisissez une intensité et une vitesse de modulation suffisamment basses, vous entendez chaque Digiwave en fondu enchaîné. Les Digiwaves des trois oscillateurs peuvent être modulées indépendamment ou sous forme de groupe. Ces cibles de modulation sont évoquées à la rubrique Présentation des oscillateurs de l’ES2. Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement) La palette sonore de l’oscillateur 3 est soutenue par l’inclusion d’un générateur de bruit, activé par la sélection de la forme d’onde du bruit. Par défaut, le générateur de bruits de l’oscillateur 3 génère un bruit blanc. Il s’agit d’un signal contenant toutes les fréquences (un nombre infini) sonnant simultanément et avec la même intensité,sur une bande de fréquences donnée. La largeur de la bande de fréquences se mesure en Hertz. En termes sonores, le bruit blanc se situe entre le son de la consonne F et les vagues déferlantes (surf). Le bruit blanc est utile pour synthétiser des bruits de vagues et de vent, ou encore des sons de caisse claire électronique. 58 Chapitre 5 ES2 Modulation de Noise Color Toutefois, l’oscillateur 3 a bien plus en réserve que la sortie du bruit blanc au son neutre. Vous pouvez moduler la couleur tonale du signal de bruit en temps réel, sans utiliser les principaux filtres de l’ES2, mais en modulant la forme d’onde de l’oscillateur 3. Pour modifier la couleur du bruit, configurez un routage de modulation comme suit : cible de modulation Osc3Wave, source ModWhl. Le curseur de valeur de modulation se comporte quelque peu différemment avec ce routage, en agissant essentiellement comme un filtre. • Utilisez les valeurs de modulations négatives (pas - 1,000) pour définir une pente de filtre descendante équivalant plus ou moins à 6 dB/octave ; le son devient alors plus sombre (bruit rouge) au fur et à mesure que vous réglez la roulette de modulation vers le bas. • Vous pouvez régler efficacement ce pseudo-filtre sur 18 Hz, avec un réglage de valeur de modulation de - 1,000. Lorsque la cible Osc3Wave est modulée de manière positive, le bruit devient plus lumineux (bruit bleu). • Si vous choisissez une valeur de modulation de + 1,000 pour la cible de modulation Osc3Wave, la fréquence de coupure du filtre est définie sur 18 kHz. Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2 Le paramètre Analog se trouve en haut, à gauche de l’interface de l’ES2. Il modifie la hauteur tonale de chaque note, ainsi que la fréquence de coupure du filtre, de manière aléatoire. Comme la plupart des synthétiseurs analogiques polyphoniques, les trois oscillateurs conservent leur écart de fréquence spécifique les uns par rapport aux autres, mais les hauteurs tonales des trois oscillateurs sont désaccordées de manière aléatoire par la même valeur du paramètre Analog. Par exemple, si la discordance Analog est définie sur environ 20 pour cent, les trois oscillateurs (s’ils sont utilisés) se décalent de manière aléatoire de 20 pour cent. • Des valeurs faibles du paramètre Analog peuvent ajouter une richesse subtile au son. Chapitre 5 ES2 59 • Des valeurs moyennes du paramètre Analog simulent les instabilités d’accord typiques des circuits des synthétiseurs analogiques. Cela peut être utile notamment pour reproduire cette « chaleur » très recherchée des vrais synthétiseurs analogiques. • Des valeurs élevées du paramètre Analog entraînent une instabilité significative de la hauteur tonale, qui peut sembler vraiment désaccordée, mais qui peut convenir parfaitement à vos besoins. Remarque : si l’ES2 est défini sur le mode clavier Mono ou Legato, le paramètre Analog est efficace uniquement si l’option Unison est active. Dans ce cas, le paramètre Analog permet de déterminer l’ampleur du désaccord entre les différentes voix superposées (unisson). Si le paramètre Voices est réglé sur 1 et/ou que le mode Unison est désactivé, le paramètre Analog n’a aucun effet. Pour en savoir plus sur ces paramètres, consultez la rubrique Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). Émulation de l’étirement des octaves (stretch tuning) dans l’ES2 Le potentiomètre Frequency (brute) de chaque oscillateur vous permet d’affiner les oscillateurs 1, 2 et 3 en demi-tons ou en octaves. Le paramètre Frequency (fine) vous permet d’affiner le réglage de chaque oscillateur en centièmes (1/100e d’un demi-ton). Une discordance précise entre les oscillateurs peut entraîner des battements, ou mise en phase, entre les fréquences des oscillateurs. Plus la fréquence/hauteur tonale lue est élevée, plus les battements de mise en phase sont rapides. Les notes aiguës peuvent donc sembler quelque peu désaccordées par rapport aux notes plus graves. Le paramètre CDB (Discordance constante de battement),situé à gauche du potentiomètre Frequency de l’oscillateur 2, désaccorde les harmoniques desfréquences des notes graves selon un rapport proportionnel à la tonalité fondamentale des fréquences des notes très aiguës. Il s’agit d’un effet très naturel que partagent les pianos acoustiques, intentionnellement « désaccordés » (par rapport au tempérament égal). Connu sous le nom d’étirement des octaves(stretch tuning), cet effet entraîne la légère discordance des gammes clavier aiguës et graves par rapport aux octaves centrales, mais un accord harmonique entre les différentes gammes. Quelques astuces concernant l’utilisation de la discordance constante de battement La CBD peut être utilisée comme outil correctif, pour niveler le battement entre les oscillateurs, ou comme outil créatif, pour émuler l’étirement des octaves (stretch tuning). Cette deuxième fonction peut s’avérer très importante lorsque vous utilisez un son de l’ES2 en même temps qu’un enregistrement de piano acoustique. 60 Chapitre 5 ES2 Le paramètre CBD peut prendre cinq valeurs différentes : off, 25 pour cent, 50 pour cent, 75 pour cent et 100 pour cent. Si vous choisissez 100 pour cent, les battements sont presque constantssur toute la gamme. Toutefois, cette valeur peutse révéler trop élevée : les notes graves peuvent être trop désaccordées, alors que tout se passe bien au niveau des plus aiguës. Essayez des valeurs CBD plus faibles pour les cas où les notes basses semblent un peu trop désaccordées par rapport à la gamme clavier aiguë. La hauteur tonale de référence pour CBD est C3 (do central) : son (dés)accord reste constant, quelle que soit la valeur de CBD choisie. Réglage de la balance de niveau de l’oscillateur dans l’ES2 Le déplacement par glissement de l’icône carrée dans le triangle permet d’effectuer des fondus enchaînés (définition des relations de niveau) entre les trois oscillateurs. Son utilisation est tout à fait évidente. Si vous déplacez l’icône carrée le long d’un des côtés du triangle, un fondu enchaîné se met en place entre les deux oscillateursles plus proches et le son du troisième oscillateur est désactivé. Cliquez sur le triangle, ou cliquez et faites glisser dans le triangle, pour modifier la balance de niveau entre les oscillateurs. Modulation des coordonnées du triangle avec le routeur ES2 La position de l’icône carrée dans le triangle est décrite par deux paramètres (des coordonnées en fait), pris en compte lors de l’automation du mixage des signaux des oscillateurs. Ces paramètres, appelés OscLevelX et OscLevelY, sont accessibles sous forme de cibles dans le routeur. Important : veillez à ne pas confondre ces coordonnées avec les positions X et Y du pavé planaire (consultez Utilisation du pavé planaire de l’ES2). Contrôle des coordonnées du triangle avec le Vector Envelope de l’ES2 La position de l’icône carrée dans le triangle peut être contrôlée par le biais de l’enveloppe Vecteur. Comme le Vector Envelope dispose d’une fonction de boucle, elle peut être utilisée comme pseudo-LFO avec une forme d’onde programmable. Elle peut permettre de modifier les positions de l’icône carrée dans le triangle. Pour en savoir plus sur cette fonction, consultez les rubriques Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2 et Présentation de l’enveloppe Vector de l’ES2. Chapitre 5 ES2 61 Réglage du point de départ des oscillateurs de l’ES2 Les oscillateurs peuvent fonctionner indépendamment ou avoir la même position de début de phase dans leurs cycles de formes d’onde respectifs, à chaque fois que l’ES2 reçoit un message de début de note. Vous pouvez définir le comportement souhaité à l’aide du menu local Osc Start (Démarrer l’oscillateur), accessible dans le coin supérieur droit de l’interface de l’ES2. • Si Osc Start est défini sur free, le point de départ de la phase initiale de l’oscillateur est aléatoire pour chaque note jouée, ajoutant ainsi de la vie au son. Mais il existe un inconvénient : le niveau de sortie peut être différent pour chaque lecture d’une note, rendant ainsi le son de la phase d’attaque moins dynamique (malgré des performances identiques à chaque fois), comme lorsque la note est déclenchée par une région MIDI. Ce réglage est utile lorsque vous émulez lessons classiques dessynthétiseurs matériels analogiques. • Si Osc Start est défini sur soft, la phase initiale de l’oscillateur démarre à un point zéro pour chaque note jouée, ce qui imite le caractère (et la précision) sonore typique des synthétiseurs numériques. • Si Osc Start est défini sur hard, la phase initiale de l’oscillateur démarre au niveau le plus élevé du cycle de forme d’onde pour chaque note jouée. Le dynamisme supplémentaire que peut fournir ce réglage est audible seulement si le paramètre « Durée de l’attaque ENV3 » est défini sur une valeur faible, en d’autres termes, une attaque très rapide. Un tel réglage est particulièrement recommandé pour les sons de percussions électroniques et de basses plutôt durs. Remarque : le réglage d’Osc Start sur Soft ou Hard assure un niveau de sortie constant de la phase initiale de l’oscillateur, à chaque fois que le son est rejoué. Ce comportement peut être d’une importance particulière lorsque vous utilisez la fonction Bounce à un niveau d’enregistrement proche du maximum. 62 Chapitre 5 ES2 Synchronisation des oscillateurs de l’ES2 Les sons typiques obtenus en synchronisant les oscillateurs ont tendance à être agressifs. Ils donnent ces sons lead un peu criards dont les fabricants de synthétiseurs parlent souvent. Les formes d’onde rectangulaire et en dents de scie des oscillateurs 2 et 3 affichent une option Sync. Lorsque ce paramètre est activé, la phase de l’oscillateur 2 ou 3 est synchronisée avec l’oscillateur 1. À chaque fois que l’oscillateur 1 entame une nouvelle phase, l’oscillateur synchronisé (2 ou 3) est forcé de repartir au début d’une phase. Entre les cycles de formes d’onde de l’oscillateur 1, les cycles de formes d’onde des oscillateurs synchronisés se déroulent librement. Modulation à enveloppe de la fréquence des oscillateurs synchronisés Les sons obtenus en synchronisant les oscillateurs sont particulièrement intéressants lorsqu’on module la fréquence de l’oscillateursynchronisé par un générateur d’enveloppe. De cette façon, le nombre de phases contenues dans une section du cycle de synchronisation change continuellement, entraînant les modifications correspondantes pour le spectre de fréquence. Chapitre 5 ES2 63 Utilisation des paramètres globaux de l’ES2 Ces paramètres influent sur le son instrumental global produit par l’ES2. Les paramètres globaux se trouventsur la gauche des oscillateurs, au-dessus dessections Filter et Output. Paramètres globaux Paramètres globaux • Boutons Keyboard Mode : ces boutons permettent de basculer l’ES2 entre les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). • BoutonUnison : ce bouton permet d’activer ou de désactiver le mode Unison. Consultez Utilisation des options Unison et Voices pour un son de l’ES2 plus riche. • Champ Voices : il détermine le nombre maximal de notes pouvant être lues simultanément. • PotentiomètreGlide : ce paramètre, également connu sousle nom Portamento, détermine la durée nécessaire pour que la hauteur tonale d’une note lue glisse vers la hauteur tonale de la note qui suit. Consultez Définition d’un temps de glissement (portamento) dans l’ES2. • Champs Bend Range : cette paire de paramètres détermine la plage de Pitch Bend vers le haut et vers le bas. Consultez Détermination d’une plage de Bend dans l’ES2. • Champ Tune : il permet de régler la hauteur tonale de l’ES2 au centième près. 100 cents correspondent à un demi-ton. Une valeur de 0 c (zéro centième) signifie que la tonalité A (La) centrale correspond à 440 Hz, soit la hauteur tonale de concert. • Potentiomètre Analog : consultez la rubrique Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2. • Menu « Constant BeatDetuning (CBD)»: consultez Émulation de l’étirement des octaves (stretch tuning) dans l’ES2. • Menu Oscillator Start : consultez Réglage du point de départ des oscillateurs de l’ES2. 64 Chapitre 5 ES2 Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato) Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme sur un orgue ou un piano. À l’inverse, la plupart des anciens synthétiseurs analogiques sont monophoniques, ce qui signifie que vous ne pouvez jouer qu’une seule note à la fois, comme sur un cuivre ou un instrument à anche. Ce n’est toutefois pas un inconvénient en soi ; la monophonie autorise desstyles de jeu impossibles avec des instruments polyphoniques. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (en jouant une nouvelle note tout en maintenant une autre note), les générateurs d’enveloppe se déclenchent seulement à la première note jouée legato, puis leurs courbes poursuivent leur évolution jusqu’à libération de la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Remarque : sur de nombreux synthétiseurs monophoniques, le comportement en mode Legato est désigné par l’expression déclenchement unique, alors que le mode Mono est appelé déclenchement multiple. Utilisation des options Unison et Voices pour un son de l’ES2 plus riche L’une des grandes forces des synthétiseurs analogiques polyphoniques est le mode Unison, ou « voix empilées ». Traditionnellement, en mode Unison, les synthétiseurs analogiques polyphoniques fonctionnent en monophonie, toutes leurs voix jouant alors simultanément la même note. Comme ils ne sont jamais parfaitement accordés, il en résulte un son d’une épaisseur incroyable, avec un effet de chorus et une grande profondeur. Pour activer le mode Unison monophonique pour l’ES2 µ Activez le mode Mono ou Legato, puis activez le bouton Unison : • l’intensité de l’effet d’unisson dépend du nombre sélectionné dans le champ des paramètres Voice. Augmentez la valeur Voices pour un son plus gras. • L’intensité de la discordance (déviation de la voix) est définie par le paramètre Analog (consultez Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2). Pour utiliser l’ES2 en mode Unison polyphonique µ Activez les boutons Poly et Unisson. Chapitre 5 ES2 65 En mode Poly/Unisson, chaque note jouée est effectivement doublée ou, plus exactement, la valeur de polyphonie du paramètre Voice est divisée en deux. Vous entendez ensuite ces deux voix lorsque vous déclenchez la note. En activant Poly/Unison, vous obtenez le même effet qu’en définissant l’ES2 sur Mono/Unison (Voices = 2), mais vous pouvez jouer en polyphonie. Définition d’un temps de glissement (portamento) dans l’ES2 Le paramètre Glide permet de définir la durée de portamento. Il s’agit de la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre. Le comportement du paramètre Glide dépend du mode clavier choisi. Consultez Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). • Si le mode Keyboard est défini sur Poly ou Mono et que le paramètre Glide possède une valeur autre que 0, le portamento est activé. • Si Legato estsélectionné et que Glide possède une valeur autre que 0, vous devez jouer legato (en appuyant sur une nouvelle touche tout en maintenant l’autre enfoncée) pour activer le portamento. Si vous ne jouez paslegato, le portamento ne fonctionnera pas. Ce comportement est également appelé fingered portamento. Détermination d’une plage de Bend dans l’ES2 Les champs de plage Bend déterminent la plage de modulation Pitch Bend, obtenue en général à l’aide de la roulette Pitch Bend de votre clavier. Il existe des champs de plage distincts pour les Bends vers le haut et vers le bas. Lorsque vous définissez le mode Lien dans le champ de plage Bend, situé sur la droite, la plage de Bend est identique dans les deux sens : si vous assignez un Bend descendant de 4 demi-tons, le Bend ascendant est également défini sur 4 demi-tons, ce qui entraîne une plage de Bends combinés de 8 demi-tons, voire 9 si vous incluez la hauteur tonale standard, ou position « aucun bend ». Utilisation des filtres de l’ES2 L’ES2 propose deux filtres discrets et différents. • Le Filtre 1 peut fonctionner comme un filtre passe-bas, passe-haut, passe-bande, refus de bande ou crête. • Le Filtre 2 est un filtre passe-bas qui offre des pentes variables(mesurées en dB/octave). 66 Chapitre 5 ES2 Les détails concernant tous les paramètres de filtre sont traités dans les rubriques qui suivent. Utilisation du paramètre Blend des filtres Fréquence de coupure du filtre 1 Mode du filtre 1 Drive du filtre Bouton Filter Pente du filtre 2 FM du filtre Cliquez ici pour choisir une configuration de filtre en parallèle ou en série. Résonance du filtre 1 Fréquence de coupure du filtre 2 Résonance du filtre 2 • Bouton Filter : active ou désactive la totalité de la section de filtrage de l’ES2. En désactivant la section de filtrage, il est plus facile d’entendre les ajustements apportés aux autres paramètres sonores, car les filtres influent toujours beaucoup sur le son. La désactivation desfiltres permet d’économiser lesressources de traitement. Si l’étiquette Filter s’affiche en vert, les filtres sont actifs. Si elle est grise, les filtres sont désactivés. • Bouton Filter Configuration : il permet de basculer entre une configuration de filtre en parallèle ou en série. Consultez Sélection d’une configuration de filtre en série ou en parallèle dans l’ES2. • Curseur Filter Blend : il définit la balance entre le Filtre 1 et le Filtre 2. Consultez Filter Blend : fondu enchaîné entre les filtres ES2. • Boutons du mode Filter 1 : ces boutons permettent de basculer le Filter 1 entre les types de filtres passe-bas, passe-haut, passe-bande, refus de bande ou crête. Consultez Sélection du mode du Filtre 1 dans l’ES2 (Bas, Haut, Crête, RB, PB). • Boutons de pente du Filter 2 : ces boutons permettent de choisir différentes pente pour le Filter 2. Consultez Réglage de la pente du Filtre 2 dans l’ES2. • Cutoff et Resonance : les potentiomètres Frequency et Cutoff déterminent la fréquence de coupure et le comportement de résonance de chaque filtre. Consultez Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2. • Potentiomètre Filter Drive : il permet de passer outre le filtre, qui affecte chaque voix séparément. Consultez Distorsion des filtres de l’ES2. Chapitre 5 ES2 67 • Potentiomètre Filter FM : il module le paramètre Frequency de coupure du Filter 2 avec la fréquence de l’oscillateur 1. Consultez Modulation de la fréquence du Filtre 2 dans l’ES2. Sélection d’une configuration de filtre en série ou en parallèle dans l’ES2 Cliquez sur le bouton Parallel/Series pour basculer un routage de filtre de parallèle à série, et inversement. Quel que soit le choix effectué, l’ensemble du filtre circulaire de l’interface utilisateur de l’ES2 tourne : les positions et la direction des commandes de filtre indiquent clairement le cheminement du signal. Le nom du bouton change également pour chaque mode. Cheminement du signal du filtre Series Cheminement du signal du filtre Parallel Dans la figure de gauche, les filtres sont câblés en série. Le signal de l’ensemble des oscillateurs(combinés au niveau du triangle de mixage de l’oscillateur) passe donc d’abord dans le premier filtre, puis ce signal filtré passe dans le Filtre 2, si le paramètre Filter Blend (voir ci-dessous) est défini sur 0, en position médiane. Le signal de sortie du Filtre 2 est ensuite envoyé à l’entrée de la phase dynamique (section d’amplification). Dans la figure de droite, les filtres sont câblés en parallèle. Si le paramètre Filter Blend est défini sur 0, vous entendez un mixage 50/50 du signal source, acheminé par le biais du Filter 1 et du Filter 2. Les signaux de sortie des deux filtres sont ensuite envoyés à l’entrée de la phase dynamique. 68 Chapitre 5 ES2 Filter Blend : fondu enchaîné entre les filtres ES2 Vous pouvez utiliser le curseur Filter Blend pour réaliser un fondu enchaîné entre les deux filtres lorsque ceux-ci sont câblés en parallèle. Filter Blend peut avoir un effet significatif sur le cheminement du signal de l’ES2. Consultez Impact de la fusion de filtre sur le cheminement du signal de l’ES2. • Lorsque Filter Blend est définie en position supérieure, vous entendez uniquement le Filtre 1. • Si Filter Blend est définie en position inférieure, vous entendez uniquement le Filtre 2. • Entre des positions, les filtres subissent un fondu enchaîné. Vous pouvez également réaliser un fondu enchaîné des filtres lorsqu’ils sont câblés en série. Dans ce cas de figure, la distorsion, contrôlée par le paramètre Drive, doit également être prise en considération : elle figure avant ou entre les filtres, selon le réglage du Filter Blend choisi. Utilisation du routeur de l’ES2 pour contrôler la fusion de filtre Le paramètre Filter Blend est disponible sous forme de cible de modulation dans le routeur. Vous pouvez bien entendu utiliser des sources de contrôle manuelles, comme la roulette de modulation, pour modifier la fusion de filtre ; toutefois, le paramètre Filter Blend peut également être utilisé de manière créative, pour basculer rapidement d’un filtre à l’autre ou réaliser un fondu enchaîné homogène entre les deux filtres. Parmi les exemples de sources dont vous pouvez tenir compte, vous trouverez le LFO, la vélocité, ou encore une association de l’enveloppe Vecteur et du pavé planaire, en utilisant les paramètres du pavé X ou Y comme sources. Cette association peut activer d’intéressantes possibilités de contrôle de filtre, susceptibles d’évoluer avec les paramètres des oscillateurs (également contrôlés par le Vectir Envelope) ou de manière indépendante. Impact de la fusion de filtre sur le cheminement du signal de l’ES2 Que la configuration en série ou en parallèle soit choisie, si la valeur - 1 est affectée au paramètre Filter Blend, seul le son du Filtre 1 est audible. Une valeur de + 1 pour le paramètre Filter Blend limite l’audibilité du Filtre 2. Chapitre 5 ES2 69 Les figures illustrent le cheminement du signal entre l’étape de mixage de l’oscillateur (le triangle) et la phase dynamique. Le cheminement du signal dans les filtres et le circuit d’overdrive du filtre (paramètre Drive) dépend de la valeur du paramètre Filter Blend. Filter Blend : configuration des filtres en série • Affectez des valeurs positives au paramètre Filter Blend pour ignorer partiellement le Filtre 1. • Affectez des valeurs négatives au paramètre Filter Blend pour ignorer partiellement le Filtre 2. • Si vous utilisez des valeurs nulles ou positives pour le paramètre Filter Blend, un seul circuit d’overdrive existe pour les deux filtres. • L’utilisation de valeurs négatives pour le paramètre Filter Blend introduit un autre circuit d’overdrive, qui altère le signal de sortie de l’étape de mixage de l’oscillateur avant que ce signal n’entre dans le premier filtre. • Si le paramètre Drive est défini sur 0, aucune distorsion n’est effectuée. Filtre 1 Filtre 1 Filtre 1 Drive Drive Drive Drive Drive Filtre 1 Filtre 1 Filtre 2 Filtre 2 Filtre 2 Drive Drive Filtre 2 Filtre 2 +1 : - 0,5 : + 0,5 : - 1 : 0 : Filter Blend : configuration des filtres en parallèle Dans une configuration parallèle, le circuit de distorsion/overdrive (paramètre Drive) est toujours câblé après l’étape de mixage des oscillateurs (le triangle) et avant les filtres. Les filtresreçoivent un signal d’entrée mono en provenance de la sortie du circuit d’overdrive. Les sorties des deux filtres sont mixées en mono selon le paramètre Filter Blend. Mix Filtre 1 Drive Filtre 2 70 Chapitre 5 ES2 Sélection du mode du Filtre 1 dans l’ES2 (Bas, Haut, Crête, RB, PB) Le Filtre 1 peut fonctionner selon plusieurs modes, ce qui permet d’éliminer (couper) ou d’accentuer les bandes de fréquence spécifiques. Pour choisir un mode pour le Filtre 1, sélectionnez l’un des boutons suivants : • Bas (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupure. Réglé en mode Lo, le filtre fonctionne comme ce type de filtre. La pente du Filtre 1 est fixée à 12 dB/octave en mode Bas. • Haut (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupure. Réglé en mode Hi, le filtre fonctionne comme ce type de filtre. La pente du Filtre 1 est fixée à 12 dB/octave en mode Haut. • Peak : le Filtre 1 fonctionne comme un filtre de crête. Cela permet d’augmenter le niveau d’une bande de fréquence. Le centre de la bande de fréquence est déterminé par le paramètre Cutoff. La largeur de la bande est contrôlée par le paramètre Resonance. • RB : (refus de bande) : la bande de fréquence entourant directement la fréquence de coupure est refusée, tandis que les fréquences en dehors de cette bande peuvent passer. Le paramètre de résonance définit la largeur de la bande de fréquences à rejeter. • PB (passe-bande): la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. Réglage de la pente du Filtre 2 dans l’ES2 La plupart desfiltres ne suppriment pas complètement la partie du signalsituée en dehors de la plage de fréquences définie par le paramètre Cutoff. La pente, ou courbe, choisie pour le Filtre 2 exprime la valeur de refus en dessous de la fréquence de coupure, en décibels par octave. Chapitre 5 ES2 71 Le filtre 2 propose trois pentes différentes: 12 dB, 18 dB et 24 dB par octave. Plus la valeur de pente est élevée, plus la pente est raide et plus l’atténuation au-delà de la fréquence de coupure est marquée pour chaque octave. Le réglage Gras fournit également un refus de 24 dB par octave, mais il propose un circuit de compensation intégré qui conserve l’extrémité basse du son. Le réglage standard de 24 dB tend à produire des sons d’extrémité inférieure quelque peu « fins ». Consultez Présentation des oscillateurs de l’ES2. Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2 Dans chaque filtre passe-bas (dans l’ES2, mode Bas pour le Filtre 1 ; le Filtre 2 est un filtre passe-bas), toutes les sections de fréquence au-delà de la fréquence de coupure sont supprimées, ou coupées, ce qui explique le nom. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez le chapitre Notions élémentaires sur les synthétiseurs. Impact de la fréquence de coupure sur le signal de l’ES2 Le paramètre Cutoff Frequency (Cut) permet d’agir sur la brillance du signal. • Dans un filtre passe-bas, plus la fréquence de coupure définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupure détermine le point à partir duquel les fréquences inférieures sont supprimées et seules les fréquences supérieures sont autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupure détermine la fréquence centre du filtre passe-bande ou de refus de bande. Impact de la résonance sur le signal de l’ES2 Le paramètre de résonance (Res) accentue ou supprime les portions du signalsupérieures ou inférieures à la fréquence de coupure définie. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. 72 Chapitre 5 ES2 • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupures. • Dans les filtres passe-bande/de refus de bande, la résonance accentue ou supprime les portions du signal, ou bande de fréquence, qui entourent la fréquence définie, avec le paramètre Cutoff. Contrôle simultané de la Fréquence de coupure et de la Résonance dans l’ES2 La modification simultanée des valeurs des paramètres Cutoff et Resonance est essentielle pour la création de sons de synthétiseurs expressifs. Pour contrôler deux paramètres de filtre en même temps µ Faites glisser l’un des trois symboles de chaîne dans la partie Filtre de l’ES2. Cliquez ici pour régler simultanément la fréquence de coupure des filtres 1 et 2. Cliquez ici pour régler simultanément la fréquence de coupure et la résonance du filtre 2. Cliquez ici pour régler simultanément la fréquence de coupure et la résonance du filtre 1. • La chaîne entre Couper et Rés du Filtre 1 contrôle simultanément la résonance (glissement horizontal) et la fréquence de coupure (glissement vertical). • La chaîne entre Couper et Rés du Filtre 2 contrôle simultanément la résonance (glissement horizontal) et la fréquence de coupure (glissement vertical). • La chaîne entre Couper du Filtre 1 et Couper du Filtre 2 contrôle simultanément la fréquence de coupure du Filtre 1 (glissement vertical) et du filtre 2 (glissement horizontal). Utilisation de la réinitialisation Flt pour induire l’auto-résonance des filtres de l’ES2 Si vous réglez le paramètre Resonance sur des valeurs plus élevées, le filtre entre en auto-oscillation et commence à résonner seul. Cette auto-résonance entraîne une oscillation sinusoïdale (une onde sinusoïdale) réellement audible. Chapitre 5 ES2 73 Pour initier ce type d’oscillation, le filtre nécessite un déclencheur. Dans un synthétiseur analogique, ce déclencheur peut être le bruit de fond ou la sortie de l’oscillateur. Dans le cadre numérique de l’ES2, le bruit de fond est quasi éliminé. De ce fait, lorsque le son des oscillateurs est désactivé, aucun signal d’entrée n’est acheminé vers le filtre. Pour amener le filtre de l’ES2 à l’auto-résonance µ Activez le bouton Filter Reset, dans la partie supérieure droite de l’interface de l’ES2. Après engagement, chaque note démarre sur un déclencheur qui fait immédiatement résonner le filtre. Utilisation du paramètre Fat de l’ES2 pour compenserles valeurs élevées de résonance L’augmentation de la valeur de résonance provoque un rejet des basses (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. Activez le bouton Fat(ness), en dessous des autres boutons de pente de filtre, pour compenser cet inconvénient et obtenir un son plus riche. Distorsion des filtres de l’ES2 Lesfiltressont équipés de modulesinternes de distorsion/saturation (overdrive) distincts. L’intensité de la distorsion est définie par le paramètre Drive. • Si les filtres sont en parallèle, l’overdrive est réalisé avant le passage par les filtres. • Si les filtres sont en série, l’emplacement des circuits d’overdrive dépend du paramètre Filter Blend, comme expliqué à la rubrique Filter Blend : fondu enchaîné entre les filtres ES2. Le paramètre Drive du filtre de l’ES2 affecte chaque voix séparément. Lorsque chaque voix subit sa propre saturation, comme si les guitaristes jouaient avec six pédales de distorsion, une par corde, vous pouvez jouer des harmonies extrêmement complexes sur toute l’étendue du clavier. Le son obtenu reste propre et n’est pas perturbé par ces phénomènes d’intermodulation indésirables. 74 Chapitre 5 ES2 En outre, un réglage approprié du paramètre Drive produit un caractère de hauteur tonale différent, pour la raison suivante : le comportement des filtres analogiques, lorsqu’ils sont saturés, constitue une caractéristique sonore essentielle d’un synthétiseur. Chaque modèle de synthétiseur est unique dans ce domaine. L’ES2 est extrêmement souple à ce niveau et autorise les couleurstonales quis’étendent de la distorsion la plussubtile aux distorsions les plus marquées. Astuce : comme le Filtre 2 peut atténuer les sons dominants apparus par distorsion, le paramètre Drive peut être considéré et utilisé comme un autre outil permettant de déformer les formes d’onde issues des oscillateurs. Distorsions polyphoniques réelles L’ES2 dispose d’un effet de distorsion dédié dans la partie Effets. Aussi, vous vous demandez peut-être quel est l’intérêt de la fonction Filtreur dans la section de filtrage. Le circuit de distorsion de la section Effets affecte l’intégralité de la sortie polyphonique de l’ES2. Tout guitariste de rock sait que des accords complexes, plus évolués que les classiques accords parfaits, quintes et octaves parallèles, sonnent de façon un peu rugueuse lorsque vous utilisez la distorsion. Par conséquent, une guitare utilisée avec la distorsion implique généralement quelques voix ou quelques quintes et octaves parallèles. Le paramètre Drive du filtre de l’ES2 influence chaque voix individuellement, ce qui vous permet de jouer des accords complexessans présenter lesintermodulations déplaisantes que l’effet de distorsion peut ajouter à votre son. Modulation de la fréquence du Filtre 2 dans l’ES2 La fréquence de coupure du Filtre 2 peut être modulée par l’onde sinusoïdale de l’oscillateur 1 qui est toujours générée, même lorsque l’oscillateur est désactivé. Le niveau de ce signal sinusoïdal peut être mixé lors de l’étape de sortie avec le paramètre Sine Level (consultez Épaississement du son de l’ES2 grâce au niveau sinusoïdal). L’effet de telles modulations de filtre sur le spectre audio reste difficilement prévisible. Toutefois, les résultats obtenus semblent toujours harmonieux si vous évitez les valeurs élevées d’intensité de modulation. Le paramètre FM est utilisé pour définir l’intensité de la modulation de fréquence de ce filtre. Chapitre 5 ES2 75 Remarque : ne confondez pas la modulation de fréquence de ce filtre et la fonction FM des oscillateurs(l’oscillateur 1 est modulé par l’oscillateur 2, comme expliqué à la rubrique Utilisation de la modulation de fréquence dans l’ES2). Si la fréquence de l’oscillateur 1 est modulée par l’oscillateur 2, cela n’a aucune influence sur le signal de l’onde sinusoïdale utilisée pour moduler les fréquences de coupure. Contrôle de l’option FM filtre dans le routeur ES2 Vous pouvez modifier la valeur du paramètre FM filtre avec un routage adéquat de la modulation vers le routeur. Choisissez LPF FM comme cible de la modulation. La source de modulation utilisée est toujours une onde sinusoïdale, à la fréquence de l’oscillateur 1. Étant donné l’affectation par défaut de l’oscillateur 1 comme source de modulation et la relation directe entre l’intensité FM filtre et la fréquence de l’oscillateur 1, vous pouvez configurer un deuxième routage avec la fréquence de l’oscillateur 1 (Pitch1) comme cible. Vous pouvez également pousser le filtre 2 jusqu’à l’auto-oscillation. Si vous entrez une valeur très élevée pour la Résonance, le filtre génère alors une onde sinusoïdale. Cette onde subit une auto-oscillation et sa distorsion correspond à la valeur de résonance maximale. Si vous coupez le son (Mute) de tous les oscillateurs, vous n’entendez plus que cette oscillation sinusoïdale. En modulant la fréquence de coupure, vous pouvez alors créer des effets proches de ceux obtenus via la modulation de la fréquence de l’oscillateur 1 par l’oscillateur 2. Utilisation des paramètres Amplifier de l’ES2 La phase dynamique d’un synthétiseur définit le niveau, à savoir le volume perçu, d’une note jouée. L’évolution du niveau sonore au fil du temps est définie par un générateur d’enveloppe. Pour en savoir plus sur les générateurs d’enveloppe, consultez le chapitre Notions élémentaires sur les synthétiseurs. Utilisation de l’enveloppe 3 pour contrôler les niveaux de l’ES2 L’enveloppe ENV 3 est « câblée en dur » vers la phase dynamique de l’ES2. Elle est utilisée en permanence pour contrôler le niveau de chaque note. Tous les paramètres de l’enveloppe sont évoqués à la rubrique Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3), avec des informations spécifiques concernant l’enveloppe 3 à la rubrique Présentation de l’ENV 2 et de l’ENV 3 dans l’ES2. 76 Chapitre 5 ES2 Modulation Amp dans le routeur ES2 La phase dynamique peut être modulée par n’importe quelle source de modulation du routeur. Pour ce faire, choisissez la cible de modulation AMP dans le routage de modulation du routeur. Par exemple, vous pouvez rapidement créer un effet de trémolo en sélectionnant AMP comme cible et LFO 1 comme source (laissez l’option via définie sur Désactivée) dans un routage de modulation. Le niveau change périodiquement, en fonction de la valeur actuelle de débit LFO 1. Épaississement du son de l’ES2 grâce au niveau sinusoïdal Le potentiomètre Sine Level, situé en regard de la section Filtre 2, permet de mixer une onde sinusoïdale à la fréquence de l’oscillateur 1 directement dans la phase dynamique, indépendamment desfiltres. Même si vous avez éliminé la tonalité partielle fondamentale de l’oscillateur 1 grâce à un filtre passe-haut, vous pouvez la reconstituer par le biais de ce paramètre. • Lorsque l’oscillateur 1 est modulé en fréquence par l’oscillateur 2 (si vous avez activé la fonction FM avec le sélecteur de forme d’onde), seule l’onde sinusoïdale pure est mixée dans la phase dynamique, et non la forme d’onde FM distordue. • Toute modulation de la hauteur tonale de l’oscillateur 1, définie dans le routeur, affecte la fréquence de l’onde sinusoïdale mixée dans cette phase. Remarque : le potentiomètre Sine Level est utile pour ajouter de la chaleur et de la densité dans les graves. Cette fonction peut apporter du « corps » aux sons légers, étant donné que l’oscillateur 1 joue la hauteur tonale de base. Chapitre 5 ES2 77 Utilisation de la modulation dans l’ES2 L’ES2 est équipé d’un très grand nombre de sources et cibles de modulation, ce qui en fait un synthétiseur trèsflexible, capable de générer dessons extraordinaires en constante évolution, comme des boucles audio, ou simplement expressifs lorsqu’ils sont joués. Les tables de références couvrant toutes les cibles et sources de modulation se trouvent à la fin de cette rubrique. Cliquez ici pour afficher l’enveloppe Vector. Routeur de modulation Sources de modulation Pavé planaire • Routeur de modulation : le routeur de modulation, ou plus brièvement routeur, relie les sources de modulation comme l’enveloppe, aux cibles de modulation comme les oscillateurs et les filtres. Le routeur présente 10 routages de modulation, organisés en colonnes. Consultez Présentation du routeur de modulation de l’ES2. • Sources de modulation : les sources de modulation comprennent les LFO et les enveloppes. Consultez Présentation des LFO de l’ES2 et Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3). • Vector Envelope : l’enveloppe Vecteur est une enveloppe multipoint extrêmement sophistiquée et capable de produire des boucles, qui peut contrôler le pavé planaire et le triangle (paramètre de mixage de l’oscillateur). L’enveloppe Vecteur partage l’espace occupé par le routeur de modulation et peut être affichée en cliquant sur le bouton du même nom, sur la droite du routeur. Consultez Présentation de l’enveloppe Vector de l’ES2. • Planar Pad : planar Pad est un contrôleur bidimensionnel, qui facilite la manipulation simultanée de deux paramètres librement assignables. Il peut être contrôlé par le bais du Vector Envelope. Consultez Utilisation du pavé planaire de l’ES2. 78 Chapitre 5 ES2 Présentation du routeur de modulation de l’ES2 Le routeur de modulation (ou routeur) traverse le centre de l’interface de l’ES2. Si l’enveloppe Vecteur est affichée, cliquez sur le bouton Router pour afficher ce dernier (ces composants partagent la même partie de l’interface). Si vous ne connaissez pas très bien lesroutages de modulation dessynthétiseurs, reportez-vous à la rubrique Modulation du chapitre « Notions élémentaires sur les synthétiseurs ». Les sources via s’affichent au milieu de chaque routage de modulation. Le curseur d’intensité de la modulation n’est pas divisé en deux lorsqu’aucune source via n’est active. Le curseur d’intensité de la modulation est divisé en deux lorsqu’une source via est active. Les sources de modulation s’affichent en bas de chaque routage de modulation. Les cibles de modulation s’affichent en haut de chaque routage de modulation. Toute source de modulation peut être associée à n’importe quelle cible de modulation, un peu comme sur un ancien standard téléphonique ou un tableau de raccordement. L’intensité de modulation, à savoir le niveau d’influence de la source sur la cible, est définie à l’aide du curseur vertical, situé à droite du routage de modulation. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Lorsque ce paramètre est actif, vous pouvez spécifier deslimitessupérieures et inférieures pour l’intensité de modulation. Dix routages de modulation de type Source, Via et Cible peuvent avoir lieu simultanément, en plus des routages « câblés en dur » à l’extérieur du routeur. Vous pouvez utiliser n’importe lequel des dix routages de modulation. Vous pouvez égalementsélectionner la même cible pour plusieursroutages de modulation parallèles. Vous pouvez aussi utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Création et contournement des routages de modulation de l’ES2 Les informations suivantes s’appliquent aux dix routages de modulation. Chapitre 5 ES2 79 Pour créer un routage de modulation de base 1 Cliquez dans le champ Target. Le menu local qui s’affiche répertorie toutes les cibles disponibles. 2 Cliquez dans le champ Source. Le menu local qui s’affiche répertorie toutes les sources disponibles. 3 Choisissez le paramètre que vous souhaitez moduler. Choisissez le paramètre que vous souhaitez utiliser pour moduler la cible. 4 Faites glisser verticalement la flèche du curseur Intensity, à droite du routage de modulation. Vous définissez ainsi une intensité de modulation fixe. 80 Chapitre 5 ES2 Pour contourner un routage de modulation µ Cliquez sur le bouton « b/p »,situé dansle coin supérieur droit du routage de modulation, en regard de l’étiquette Target. Le paramètre de contournement (b/p) permet d’activer ou de désactiver les routages de modulation individuels, sans perdre les réglages. Utilisation des sources Via pour contrôler l’intensité de modulation de l’ES2 Dans un routage de modulation de base composé d’une cible et d’une source, vous pouvez définir une intensité de modulation fixe en faisant glisser verticalement la flèche du curseur Intensity, situé à droite du routage. La valeur du curseur définit toujours une intensité de modulation constante. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Dès que vous choisissez une valeur autre que Off pour le paramètre Via, le curseur Intensity est divisé en deux sections. Chaque section dispose de sa flèche. • La section inférieure définit l’intensité de modulation minimale, lorsque le contrôleur via, la roulette de modulation par exemple, est défini sur sa valeur minimale. • La section supérieure définit l’intensité de modulation maximale, lorsque le contrôleur via est défini sur sa valeur maximale. • La zone située entre les deux sections de curseur définit la plage de modulation du contrôleur via. Chapitre 5 ES2 81 Pour créer un routage de modulation qui inclut une source via 1 Cliquez dans le champ Target. Le menu local qui s’affiche répertorie toutes les cibles disponibles. 2 Cliquez dans le champ Source. Le menu local qui s’affiche répertorie toutes les sources disponibles. 3 Cliquez sur le champ Via en maintenant le bouton de la souris enfoncé pour afficher un menu local répertoriant toutes les sources disponibles. 4 Choisissez la sources que vous souhaitez utiliser pour contrôler l’intensité de modulation. 5 Faites glisser la flèche supérieure verticalement, le long du curseur Intensity (à droite du routage de modulation), pour définir l’intensité de modulation maximale. 82 Chapitre 5 ES2 6 Faites glisser la flèche inférieure le long du curseur Intensity pour définir l’intensité de modulation minimale. Pour déplacer l’intégralité de la plage via µ Faites glisser verticalement la souris dans la zone de plage entre les deux sections du curseur. Les deux flèches se déplacent simultanément. Si cette zone est trop petite pour être déplacée, il vous suffit de faire glisser une partie inutilisée de la « piste » du curseur Intensity pour la déplacer. Pour définir l’intensité de modulation sur zéro µ Cliquez sur le petit symbole zéro en regard de l’étiquette Via. Pour inverser l’effet de la source de modulation via µ Cliquez sur le paramètre Via invert (inv), à droite de l’étiquette Via. Exemple de modulation de l’ES2 Imaginez un son de l’ES2 avec les réglages suivants : • Target : pitch123 • via : molModul Chapitre 5 ES2 83 • Source : lFO1 • Intensité de la modulation : position du curseur, à votre convenance Pitch123 est la cible de la modulation dans notre exemple. La source de modulation, LFO1, est utilisée pour moduler la fréquence, ou hauteur tonale, des trois oscillateurs (Pitch123). Vous entendez un vibrato, une modulation de la hauteur tonale, intervenant selon la fréquence déterminée par le paramètre Rate du LFO 1. L’intensité de la modulation est contrôlée par la roulette de modulation, dont la plage est déterminée par le paramètre Via. Vous pouvez donc contrôler la profondeur du vibrato (modulation de la hauteur tonale) via la roulette de modulation de votre clavier. Ce type de configuration est utilisé pour bon nombre de réglages. Présentation des LFO de l’ES2 L’ES2 est doté de deux LFO à formes d’onde multiples. Ils sont tous deux disponibles comme sources dans le routeur. Le LFO 1 est polyphonique, ce qui signifie que si vous l’utilisez pour la modulation de plusieurs voix, celles-ci ne sont pas verrouillées en phase. En outre, LFO 1 est synchronisé sur les notes: chaque fois que vousjouez une note, la modulation LFO1 de la voix associée repart de zéro. • Pour mieux comprendre le non-verrouillage en phase, imaginez un scénario danslequel un accord est joué sur le clavier. Si LFO 1 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. • La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. • Le LFO 1 permet d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. 84 Chapitre 5 ES2 Le LFO 2 est monophonique, ce qui signifie que la modulation est identique pour toutes les voix. Par exemple, imaginez un scénario dans lequel un accord est joué sur le clavier. Si vous utilisez LFO 2 pour moduler la hauteur tonale, la hauteur tonale de toutes les voix de l’accord joué augmente et diminue de manière synchronisée. • Curseur EG du LFO 1 : il contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO (consultez Utilisation du générateur d’enveloppe du LFO 1 dans l’ES2). • Curseur LFO1 Rate : détermine la fréquence ou vitesse de la modulation LFO 1. La valeur sélectionnée est indiquée en Hertz (Hz), sous le curseur. • Boutons LFO 1 Wave : ils vous permettent de choisir la forme d’onde souhaitée pour LFO 1. Consultez la rubrique Utilisation des formes d’onde LFO de l’ES2 pour plus de détails sur leur utilisation. • Curseur LFO 2 Rate : ce paramètre définit la fréquence (ou vitesse) de la modulation LFO 2. Consultez Réglage du débit du LFO 2 dans l’ES2. Brève présentation des LFO Le terme LFO est l’abréviation de low frequency oscillator (oscillateur basse fréquence). Comme son nom le suggère, il s’agit d’un oscillateur qui ressemble aux trois principaux oscillateurs de l’ES2, mais qui affiche toutefois les différences suivantes : • Un LFO génère des signaux de modulation, dont la fréquence est inférieure à la plage de fréquences audibles; leur bande passante se situe généralement entre 0,1 et 20Hz, mais atteint parfois 50 Hz. • Cessignaux étant inaudibles, le LFO peutservir uniquement de source de modulation pour des effets périodiques ou cycliques, et non pour le signal audio principal. Pour plus d’informations, consultez le chapitre Notions élémentairessur lessynthétiseurs. Utilisation des formes d’onde LFO de l’ES2 Les boutons LFO 1 Wave vous permettent de choisir différentes formes d’onde pour LFO 1. Le tableau ci-dessous définit de quelle manière ces formes d’onde peuvent affecter vos sons. Chapitre 5 ES2 85 Essayez d’utiliser les formes d’onde lorsqu’un routage de modulation de Pitch123 (la hauteur tonale des trois oscillateurs) est engagé et en cours d’exécution. Waveform Commentaires Onde triangulaire Convient bien aux effets de vibrato. Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées des fréquences de l’oscillateur, avec une onde en dents de scie négative (inversée), génèrent des sons de type « glou-glou ». Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance desfiltres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. En dents de scie Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire saillante évolue entre une valeur positive et zéro. Une forme rectangulaire en creux évolue entre une valeur positive et une valeur négative ; ces valeurs sont symétriques par rapport à zéro. Vous pouvez obtenir un effet intéressant en modulant Pitch123 selon une intensité appropriée, de façon à obtenir un intervalle de quinte. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Les deux derniers réglages de forme d’onde des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde supérieure s’échelonne entre des valeurs aléatoires, soit des passages rapides d’une valeur à une autre. Avec la dernière, en revanche, l’onde aléatoire est lissée ; les transitions entre les différentes valeurs sont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. Les valeurs de ces échantillons sont ensuite conservées jusqu’au prélèvement du prochain échantillon.Astuce :une modulation aléatoire de Picth123 conduit à un effet communément appelé « générateur de motif de hauteur tonale aléatoire » ou Sample & Hold. Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Utilisation du générateur d’enveloppe du LFO 1 dans l’ES2 Le LFO 1 présente un générateur d’enveloppe simple, utilisé pour contrôler le temps nécessaire au fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique : aucun fondu entrant ou sortant ne se produit. Pour définir la transition de la modulation LFO 1 µ Sélectionnez une valeur positive EG LFO 1 pour réaliser un fondu entrant de la modulation. Plus la valeur est élevée, plus le temps de retard est long. 86 Chapitre 5 ES2 µ Sélectionnez une valeur négative EG LFO 1 pour réaliser un fondu sortant de la modulation. Plus le curseur est bas (à l’écran), plus le temps de chute est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Placez le curseur EG LFO 1 en position dans la partie supérieure (Delay) et modulez la cible Pitch123 avec la source LFO1 dans le routeur. 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO 1 d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO 1. Astuce : les modulations rapides et chaotiques des fréquences d’un oscillateur (cible : Pitch123) par la source LFO 1, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage du débit du LFO 2 dans l’ES2 Le LFO 2 convient particulièrement à la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le paramètre Rate du LFO 2 permet à ce dernier de fonctionner librement (dans la partie supérieure de la plage du curseur Rate) ou d’être synchronisé avec le tempo du projet (dans la partie inférieure de la plage du curseur Rate). Le débit est indiqué en hertz ou en valeursrythmiques(ces dernièressont choisieslorsque la synchronisation du tempo du projet est active). La plage rythmique va de la quadruple croche (1/64) à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3) L’ES2 présente trois générateurs d’enveloppe par voix. Ils sont respectivement abrégés sous la forme ENV 1, ENV 2 et ENV 3 dans l’interface et dans le routeur. De plus, l’ES2 propose l’enveloppe Vector sophistiquée (consultez Présentation de l’enveloppe Vector de l’ES2). Chapitre 5 ES2 87 Remarque : pour en savoir plus sur les racines du terme « générateur d’enveloppe » et sursesfonctions de base, consultez le chapitre Notions élémentairessur lessynthétiseurs. Les paramètres d’ENV 2 et d’ENV 3 sont identiques. L’ENV 3 définit l’évolution du niveau de chaque note jouée. Autrement dit, ce générateur est « câblé en dur » à la cible de modulation AMP dans le routeur. Modulation Envelope de ES2 Filter Cutoff Contrairement à la plupart des synthétiseurs, l’ES2 ne dispose d’aucune connexion en dur entre l’un des générateurs d’enveloppe et les fréquences de coupure des filtres. Configurez un routage de modulation comme suit, afin d’établir ce type de modulation : définissez la cible sur Cutoff 1, Cutoff 2 ou Cut 1+2. Définissez la source sur ENV 2 par exemple. Une fois défini selon cette description, le curseur situé sur la droite du routage de modulation fonctionne comme le paramètre EG Depth du filtre. Remarque : eNV 2 et ENV 3 sont tous deux sensibles à la vélocité, il est donc inutile de régler le paramètre via sur Velo dans le routage de modulation ; vous pouvez le laisser désactivé. 88 Chapitre 5 ES2 Présentation d’ENV 1 dans l’ES2 Même si ENV 1 peut paraître faiblement équipé de prime abord,ses nombreux paramètres sont utiles pour une large gamme de fonctions de synthétiseur. Bouton de mode Decay/Release Menu Trigger Modes Curseur Attack via Velocity • Menu Trigger Modes : vous pouvez définir le comportement de déclenchement de l’ENV 1 en choisissant l’un des réglages suivants : • Poly : le générateur d’enveloppe se comporte comme sur un synthétiseur polyphonique. Chaque voix possède sa propre enveloppe. • Mono : un seul générateur d’enveloppe module toutes les voix de la même manière. Toutesles notes doivent être relâchées avant que l’enveloppe puisse être déclenchée de nouveau. Si vous jouez legato ou tant qu’une touche reste enfoncée, l’enveloppe ne reprend pas sa phase d’attaque. • Retrig : un seul générateur d’enveloppe module toutes les voix de la même manière. L’enveloppe est déclenchée par n’importe quelle touche enfoncée, même si d’autres notes sont tenues. Toutes les notes tenues sont affectées de la même manière par l’enveloppe redéclenchée. • Curseur Attack via Velocity : le curseur relatif au temps d’attaque est divisé en deux sections. La partie inférieure définit le temps d’attaque, lorsque la force du jeu est élevée (vélocité maximale). La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, cliquez sur une partie inutilisée du curseur et faites glisser verticalement. • Bouton Decay/Release mode : cliquez pour faire basculer l’ENV 1 d’un comportement d’enveloppe Attack/Decay à Attack/Release, et inversement. Chapitre 5 ES2 89 Réglage du paramètre Decay ou Release de l’enveloppe 1 dans l’ES2 ENV 1 peut être configuré en tant que générateur d’enveloppe avec les paramètres Attack time et Decay time ou Attack time et Release time. Cliquez ici pour basculer entre les modes Decay et Release. Pour passer du mode Attack/Decay au mode Attack/Release, et inversement µ Cliquez sur le D ou le R au-dessus du curseur ENV 1 de droite. L’étiquette du bouton change pour refléter le mode activé. • En mode Attack/Decay : le niveau descend à zéro une fois la phase d’attaque terminée, que la note soit tenue ou non. Le temps de chute est le même, même si vous relâchez la note. Il est défini à l’aide du curseur D (représentant le temps de chute). • En mode Attack/Release : le niveau de l’enveloppe reste au maximum une fois la phase d’attaque terminée, même lorsque la touche reste enfoncée. Une foisla touche relâchée, le niveau descend progressivement selon la durée définie à l’aide du curseur R (représentant le temps de relâchement). Émulation d’un comportement de filtre polysynthé classique dans l’ES2 Les premiers synthétiseurs polyphoniques analogiques passaient toutes les voix par un seul filtre passe-bas. Ce choix de conception était essentiellement motivé par desraisons économiques. Les exemples les plus connus de ces instruments polyphoniques sont le Moog Polymoog, le Yamaha SK20 et le Korg Poly-800. Le filtre passe-bas unique de ces instruments est contrôlé par un seul générateur d’enveloppe. Pour reproduire un tel comportement dans l’ES2, utilisez les modes Mono ou Retrigger. La modulation de la cible Cutoff 2 avec une source percussive, comme ENV 1, définie sur Retrig affiche un effet de filtre percussif à chaque fois que vous jouez une nouvelle note, si vous jouez et tenez une note grave. La nouvelle note jouée est également affectée par ce filtre. Lorsque vousjouez un son configuré de la sorte, la sonorité obtenue est proche de celle d’un synthétiseur polyphonique avec un seul filtre, et ce, même si lesfiltres ES2 sont toujours polyphoniques et peuvent donc être moduléssimultanément par plusieurs sources polyphoniques. Autre conseil : vous pouvez également simuler la percussion d’un orgue Hammond à l’aide des modes Mono ou Retrigger. 90 Chapitre 5 ES2 Présentation de l’ENV 2 et de l’ENV 3 dans l’ES2 Les fonctions disponibles dans les générateurs ENV 2 et ENV 3 sont identiques. Toutefois, l’ENV 3 sert toujours à définir le niveau de chaque note, pour moduler la phase dynamique en d’autres termes. Toutefois, vous pouvez également utiliser l’ENV 3 comme source simultanée dans le routeur. Les paramètrestemporels de l’enveloppe peuvent également être utilisés comme cibles de modulation dans le routeur. Le curseur Attack Time est divisé en deux pour déterminer les vélocités maximum et minimum de la durée d’attaque. Cliquez sur le symbole central pour définir le curseur Sustain Time sur sa valeur centrale. Les paramètres Sustain Time et Sustain Level sont définis séparément dans l’ES2. • Curseur Attack : il définit le temps nécessaire pour que le niveau d’une note s’élève d’une amplitude de zéro à l’amplitude définie. Les curseurs de temps d’attaque d’ENV 2 et d’ENV 3 sont divisés en deux parties. • La section inférieure définit le temps d’attaque, lorsque la force du jeu est élevée, à vélocité maximale. La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, cliquez dans une partie inutilisée du curseur et faites glisser verticalement. • Curseur Decay : il détermine le temps nécessaire pour que le niveau d’une note tenue retombe au niveau de soutien avant la fin de la phase d’attaque. • Si le paramètre de niveau Sustain est défini sur sa valeur maximale, le paramètre Decay n’a aucun effet. • En revanche, lorsqu’une valeur minimale est affectée, le paramètre Decay définit la durée du fondu sortant de la note. • Curseurs Sustain et Sustain Time : il existe deux paramètres de soutien qui interagissent l’un avec l’autre. L’un contrôle le niveau de soutien et l’autre, le temps de soutien. Consultez Utilisation des paramètres Sustain des enveloppes 2 et 3 dans l’ES2. Chapitre 5 ES2 91 • Curseur(R) Release Time : il définit le tempsrequis pour que le niveau (soutien) retombe à zéro, une fois la note relâchée. • Curseur Vel (Velocity Sensitivity) : il détermine la sensibilité à la vélocité de toute l’enveloppe. Lorsque ce curseur est à son maximum, l’enveloppe ne produit un niveau maximal que lorsque vousfrappez lestouchestrèsfort (vélocité maximale). Des vélocités moins élevées entraînent la modification correspondante aux niveaux de l’enveloppe : une vélocité de 50 pour cent crée des demi-niveaux pour chaque paramètre de niveau d’enveloppe. Utilisation des paramètres Sustain des enveloppes 2 et 3 dans l’ES2 Lorsque le curseur Sustain Time (montée) est défini sur sa valeur centrale, le curseur Sustain (S) Level se comporte comme le paramètre Sustain de n’importe quel enveloppe ADSR de synthétiseur. À cette valeur, le curseur Sustain (Level) définit le niveau tenu pendant tout le temps où la touche reste enfoncée, une fois le temps d’attaque et le temps de chute terminés. Le curseur Sustain Time définit la durée nécessaire pour que le niveau passe du niveau Sustain à son niveau maximum, ou tombe à zéro : • Les réglages de la partie inférieure de la plage du curseur Sustain Time (descente) déterminent le temps nécessaire pour que le niveau passe du niveau de soutien à zéro. Plus le curseur est bas, plus le niveau sonore baisse rapidement. • Les réglages effectués dans la partie supérieure (montée) déterminent te temps nécessaire pour que le niveau passe du niveau de soutien à sa valeur maximum. Plus le curseur est haut, plus le niveau sonore augmente rapidement. Émulation de comportements d’instruments avec la modulation Envelope Sur les pianos et les instruments à cordes pincées, les notes aiguës résonnent moins longtemps que les notes graves. Pour simuler cet effet, modulez la cible Decay Time avec la source Kybd dans le routeur. Le curseur d’intensité de modulation doit être défini sur une valeur négative. 92 Chapitre 5 ES2 Présentation de l’enveloppe Vector de l’ES2 L’enveloppe Vector est une source de contrôle multipoint, capable de fonctionner en boucle. Son unique but consiste à fournir le contrôle en temps réel des mouvements de l’icône carrée dans le triangle et le pavé planaire. L’enveloppe Vector partage l’espace occupé par le routeur de modulation et peut être affichée en cliquant sur le bouton du même nom, sur la droite du routeur. Vector Envelope Point Solo Curve Triangle Pavé planaire Mode Vector Fréquence des boucles Mode Env Mode Loop Mise à l’échelle Cibles du pavé planaire Chaque voix possède une enveloppe Vector indépendante, déclenchée depuis son point de départ pour chaque nouvelle frappe de touche (message MIDI de début de note). Du point de vue conceptuel, l’enveloppe Vector, avec le pavé planaire et le triangle, peut paraître quelque peu étrange, voire un peu intimidante, mais après une rapide prise en main, vous constaterez à quel point ces fonctions s’utilisent facilement. En associant ces fonctionnalités aux autres options de synthèse de l’ES2, vous pouvez créer des sons véritablement uniques et, presque littéralement, en mouvement. Pour activer et désactiver l’enveloppe Vector µ Désactivez le bouton Solo Point (décrit à la rubrique Réglage du point Solo de l’enveloppe Vector de l’ES2) pour activer l’enveloppe Vector. µ Activez le bouton Solo Point pour désactiver l’enveloppe Vector. Lorsque Solo Point est activé, seules les positions actuellement sélectionnées pour le triangle et le pavé planaire du point actuellement sélectionné sont actives. Chapitre 5 ES2 93 Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2 Le menu local Vector Mode, en dessous du bouton de l’enveloppe Vector, vous permet de préciser la cible de l’enveloppe Vector, à savoir le pavé planaire et/ou le triangle. • Désactivé : l’enveloppe Vector ne contrôle pas le triangle ou le pavé planaire. Elle est complètement désactivée. Vous pouvez donc régler et contrôler manuellement les icônes carrées du triangle et du pavé planaire. • Mix : l’enveloppe Vector contrôle le triangle, mais pas le pavé planaire. • XY : l’enveloppe Vector contrôle le pavé planaire, mais pas le triangle. • Mix+XY : l’enveloppe Vector contrôle le pavé planaire et le triangle. Aperçu des points, temps et boucles de l’enveloppe Vector de l’ES2 L’axe temporel de l’enveloppe Vector procède de gauche à droite. Axe temporel de l’enveloppe Vector Point 1 Le point Loop s’affiche sur la ligne en dessous de l’axe temporel. Le point Sustain s’affiche sur la ligne au-dessus de l’axe temporel. Durée du point, indiquée en millisecondes (ms). 16 points au maximum peuvents’affichersur l’axe temporel (la figure ci-dessous en illustre 10). Chaque point peut contrôler les positions de l’icône carrée pour le triangle et le pavé planaire (telles que décrites à la rubrique Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2). Les points sont numérotés de manière séquentielle, de gauche à droite, le long de l’axe temporel. Au moins trois points doivent toujours être définis : le point 1 est le point de départ, le point 2 est défini comme point Sustain et le point 3 est le point d’arrivée. 94 Chapitre 5 ES2 Tout point peut être défini comme point Sustain. Si la note jouée est tenue pendant suffisamment longtemps et qu’aucune boucle n’est en cours, tout mouvement d’enveloppe s’arrête lorsque le point Sustain est atteint. La valeur du point Sustain est conservée jusqu’à relâchement de la touche, à savoir la commande de désactivation de la note MIDI. Tout point peut être défini comme point Loop. La région convertie en boucle s’étend entre le point Sustain et le point Loop. Entre ces points, vous pouvez créer d’autres points décrivant les mouvements des icônes carrées dans le pavé planaire et le triangle. Sélection, création et suppression de points de l’enveloppe Vector de l’ES2 Plus vous définissez de points, plusles mouvements pouvant être réaliséssont complexes. Pour sélectionner un point µ Cliquez dessus pour le sélectionner. Une fois sélectionné, le point peut être librement modifié. Pour créer un nouveau point µ Cliquez entre deux points existants tout en appuyant sur la touche Maj. Le segment situé entre les deux anciens points est alors divisé à l’emplacement défini par le clic. La somme des durées de ces deux nouveaux segments est égale à celle du segment entier d’origine. Vous êtes ainsi assuré que les points ultérieurs conservent leurs positions temporelles absolues. Les positions existantes d’icône carrée dans le triangle et le pavé planaire sont fixes, ce qui garantit que les points nouvellement créés n’affectent pas les mouvements définis précédemment. Pour supprimer un point µ Cliquez dessus tout en maintenant la touche ctrl enfoncée. Retour aux valeurs par défaut des points de l’enveloppe Vector de l’ES2 Il se peut que vous souhaitiez revenir aux valeurs par défaut d’un point. Cette action est possible directement dans le triangle ou le pavé planaire. Pour revenir à la valeur par défaut d’un point, effectuez l’une des opérations suivantes : µ Cliquez sur le triangle tout en appuyant sur la touche Option. L’icône carrée est définie sur la position centrale du triangle. Tous les oscillateurs sont alors définis avec le même niveau de sortie. µ Cliquez sur le pavé planaire tout en appuyant sur la touche Option. L’icône carrée est définie sur la position centrale du pavé planaire. Les valeurs sont égales à zéro sur les deux axes. Chapitre 5 ES2 95 Réglage du point Solo de l’enveloppe Vector de l’ES2 Le bouton Solo Point désactive l’enveloppe Vector. Si le bouton Solo Point est activé, aucune modulation dynamique n’est générée par l’enveloppe Vector. Dans ce cas, les positions actuellement visibles desicônes carrées dansle triangle et le pavé planaire sont en vigueur de manière permanente. Elles correspondent au point d’enveloppe Vector actuellement sélectionné. Si vous cliquez sur un autre point d’enveloppe Vector pour le sélectionner, les positions des icônes carrées du triangle et du pavé planaire se mettent à jour pour refléter votre sélection. Si le bouton Solo Point est activé, le nouveau pointsélectionné devient le point solo. Remarque : vous pouvez désactiver séparément la modulation de l’enveloppe Vector du pavé planaire en réglant le paramètre Vector Mode sur off, comme décrit à la rubrique Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2. Réglage du point Sustain de l’enveloppe Vector de l’ES2 Comme cela a été mentionné précédemment, tout point peut être défini comme point Sustain. En supposant que la note jouée soit tenue suffisamment longtemps et qu’aucune boucle ne soit en cours, tout mouvement d’enveloppe s’arrête lorsque le point Sustain est atteint. La valeur du point Sustain est conservée jusqu’à relâchement de la touche, à savoir la commande de désactivation de la note MIDI. Pour définir un point comme point Sustain µ Cliquez dans la bande turquoise, au-dessus du point souhaité. Le point Sustain est indiqué par un S, figurant entre le point et son numéro, illustré sur la bande turquoise. Configuration des boucles de l’enveloppe Vector de l’ES2 L’enveloppe Vector peut fonctionner en mode monocoup, tant que la note est tenue ; elle peut être définie pour se répéter un nombre donné de fois ou indéfiniment, comme une modulation LFO. Vous pouvez obtenir des répétitions en utilisant les fonctions de boucle (loop). 96 Chapitre 5 ES2 Bien que les paramètres de boucle puissent vous rappeler les paramètres de boucles disponibles comme échantillons, il existe des différences significatives entre eux. L’enveloppe Vector fournit uniquement des signaux de contrôle utilisés pour le positionnement de l’icône carrée dans le triangle et le pavé planaire. La sortie audio de l’ES2 n’est pas convertie en boucle, de quelque manière que ce soit. Réglage du point Loop Tout point peut être défini comme point Loop. Tant que la note est tenue pendant une durée adaptée, des sections de l’enveloppe peuvent être répétées, ou mises en boucle. La région convertie en boucle s’étend entre le point Sustain et le point Loop. Entre ces points, vous pouvez définir plusieurs points décrivant les mouvements desicônes carrées dans le triangle et le pavé planaire. Pour définir un point comme point Loop µ Cliquez dans la bande turquoise, en dessous du point souhaité. Le point Loop est indiqué par un L sur la bande. Remarque : pour visualiser et définir le point Loop, le mode Loop doit être activé (consultez la rubrique « Réglage du mode Loop de l’enveloppe Vector » ci-dessous). Réglage du mode Loop de l’enveloppe Vector Vous pouvez choisir parmi les modes Vector Envelope Loop suivants : Off, Forward, Backward et Alternate. Cliquez ici pour choisir un mode Loop. • Désactivé : si le mode Loop est désactivé, l’enveloppe Vector fonctionne en mode monocoup, du début à la fin,si la note est tenue suffisamment longtemps pour réaliser toutes les phases d’enveloppe. Tous les autres paramètres de boucle sont également désactivés. Chapitre 5 ES2 97 • Forward : si le mode Loop est défini sur Forward, l’enveloppe Vector va du début au point Sustain, puis elle commence à répéter périodiquement la partie comprise entre le point Sustain et le point Loop, toujours vers l’avant. • Backward : si le mode Loop est défini sur Backward, l’enveloppe Vector va du début au point Sustain, puis elle commence à répéter périodiquement la partie comprise entre le point Sustain et le point Loop, toujours vers l’arrière. • Alternate : si le mode Loop est défini sur Alternate, l’enveloppe Vector va du début au point Sustain, puis elle passe périodiquement du point Loop au point Sustain, en alternant les mouvements vers l’avant et vers l’arrière. Réglage du paramètre Loop Rate de l’enveloppe Vector De la même manière que chaque LFO est doté d’une vitesse, ou débit, le cycle des boucles peut être réglé sur une vitesse définie. Le paramètre Loop Rate de l’enveloppe Vector peut également être synchronisé avec le tempo du projet. Pour régler le débit de boucle de l’enveloppe Vector, effectuez l’une des opérations suivantes : µ Faites glisser l’indicateur vert, au centre de la barre Loop Rate, vers la gauche ou la droite. µ Faites défiler verticalement le champ de valeur pour obtenir « as set » (illustré dans la figure ci-dessous). • As set : si vous définissez le paramètre Loop Rate sur « as set », la durée du cycle d’une boucle est égale à la somme des duréessituées entre les points Sustain et Loop. Cliquez sur le champ intitulé « as set », sous le curseur Rate, pour le sélectionner. • Rhythmic : si vous définissez le paramètre Loop Rate sur l’une des valeurs rythmiques (sync) en faisant glisser l’indicateur Loop Rate vers la gauche du curseur, le débit de boucle suit alors le tempo du projet. Vous pouvez choisir de 32 mesures jusqu’à 1/64e de note en triolet. • Free : vous pouvez également définir un paramètre Loop Rate libre en faisant glisser l’indicateur Loop Rate vers la droite du curseur (libre). La valeur indiquée correspond au nombre de cycles par seconde. Remarque : si le paramètre Loop Rate n’a pas la valeur « as set » et si la fonction Loop Mode (Forward, Backward ou Alternate) est active, les durées des points situés entre les points Loop et Sustain, ainsi que la valeur Loop Smooth, sont exprimées sous forme de pourcentages de la durée de la boucle, et non en millisecondes. 98 Chapitre 5 ES2 Réalisation de transitions régulières de boucles de l’enveloppe Vector de l’ES2 Lorsque Loop Mode est défini sur Forward ou Backward, inévitablement, à un moment donné, une transition du point Sustain au point Loop a lieu. Vous pouvez utiliser le paramètre Loop Smooth pour égaliser la transition, évitant ainsi les changementssoudains de position. • Si le paramètre Loop Rate est défini sur Sync ou Free, la durée de lissage de la boucle est affichée sous forme de pourcentage de la durée du cycle de la boucle. • Si le paramètre Loop Rate est défini sur « as set », la durée de lissage de la boucle est exprimée en millisecondes (ms). Précision d’un comptage de boucles de l’enveloppe Vector de l’ES2 Le cycle de boucle de l’enveloppe Vector peut être répété un nombre donné de fois. Après le nombre défini de répétitions, l’enveloppe Vector s’exécute à partir du point Sustain et se poursuit. Les valeurs possibles vont de 1 à 10 ou l’infini. Réglage du comportement de phase de relâchement de l’enveloppe Vector de l’ES2 Le menu Env Mode comporte deux options de phase de relâchement : Normal et Finish. Utilisation du mode Normal de l’enveloppe Vector de l’ES2 Si le menu Env Mode est défini sur Normal, la phase de relâchement (phase suivant le point Sustain) commence dès que vous relâchez la touche (fin de note). En d’autres termes, la phase de relâchement débute au point d’enveloppe Vector correspondant au moment où vous avez relâché la touche. Les comportements suivants s’appliquent : • Si la mise en boucle est désactivée et que l’enveloppe Vector atteint le point Sustain, la valeur de ce dernier est tenue tant que vous maintenez une touche enfoncée. • Si la mise en boucle est activée et que l’enveloppe Vector est placée avant le point Sustain, la boucle se répète tant que vous maintenez une touche enfoncée. • Si la mise en boucle est activée et que le point Loop est placé après le point Sustain, la boucle de l’enveloppe Vector continue de se répéter jusqu’à la fin de la phase de relâchement complète du son, telle que déterminée par le paramètre ENV 3 Release. Utilisation du mode Finish de l’enveloppe Vector de l’ES2 Si le menu Env Mode est défini sur Finish, l’enveloppe Vector ne commence pas immédiatement la phase de relâchement lorsque la touche est relâchée. En revanche, elle joue tous les points, selon leur durée totale, jusqu’au point final, que la touche soit relâchée ou non. Chapitre 5 ES2 99 Les comportements suivants s’appliquent : • Si la mise en boucle est désactivée, le point Sustain est ignoré. L’enveloppe Vector achève tous les points jusqu’au point final, que vous mainteniez la touche enfoncée ou que vous la relâchiez. • Si la mise en boucle est activée, l’enveloppe Vector joue tous les points jusqu’au point Loop, puis elle joue la boucle jusqu’à ce que le point final soit atteint. Dans ce cas, peu importe si le point Loop figure avant ou après le point Sustain. • Si la mise en boucle est activée et que le paramètre Loop Count est définisur une valeur autre que infinite, l’enveloppe Vector poursuit avec les points suivants après avoir effectué le nombre de boucles sélectionné. Si le paramètre Loop Count est défini sur infinite, les points postérieurs à la boucle n’ont aucune importance. Consultez ES2. Choix des formes de transition de point de l’enveloppe Vector de l’ES2 Le paramètre Curve définit la forme de la transition entre les différents points. Vous avez le choix parmi neuf formes convexes et neuf formes concaves. Vous disposez également de deux formes courbes inhabituelles, hold+step et step+hold, qui permettent des modulations par pas. • step+hold : cette courbe passe au début de la transition. • hold+step : cette courbe passe à la fin de la transition. Remarque : vous pouvez utiliser hold+step pour créer des grooves vectoriels de 15 pas maximum. Réglage des durées de l’enveloppe Vector de l’ES2 Hormis le premier point, qui dépend du début de chaque note jouée, chaque point dispose d’un paramètre Time. Ce paramètre définit la durée nécessaire à l’indicateur de position pour aller d’un point vers le suivant. Les durées sont généralement exprimées en millisecondes (ms). Pour régler une valeur de durée µ Cliquez sur la valeur numérique et faites-la glisser verticalement. Remarque : la modification d’une valeur de durée modifier les positions temporelles absolues de tous les points suivants. 100 Chapitre 5 ES2 Pour régler une valeur de durée sans modifier les positions temporelles absolues des points suivants µ Faites glisser le paramètre Time tout en maintenant la touche ctrl enfoncée, afin d’augmenter ou de réduire la durée nécessaire pour atteindre le point suivant. Le réglage de durée du point suivant est ajusté simultanément de la valeur correspondante. Vous êtes ainsi assuré que le point adjacent et tous les points ultérieurs conservent leurs positions temporelles absolues. Mise à l’échelle temporelle de l’enveloppe Vector de l’ES2 Vous pouvez étendre ou comprimer l’ensemble de l’enveloppe vectorielle. Cette possibilité est extrêmement utile si vous souhaitez doubler la vitesse de l’enveloppe Vector, par exemple. Au lieu de réduire de moitié les valeurs de durée de chaque point, vous pouvez définir le paramètre Time Scaling, au-dessus du curseur ENV3 Attack, sur 50 pour cent. Cliquez ici pour modifier l’échelle temporelle. • Le paramètre Time Scaling dispose d’une plage de 10 à 1 000 pour cent. selon une échelle logarithmique. • Si le paramètre Loop Rate est défini sur « as set », la mise à l’échelle influe également sur la boucle. • Si le paramètre Loop Rate est défini sur une valeur libre ou synchronisée, le réglage n’est pas influencé par le paramètre Time Scaling. Fixation de la synchronisation de l’ES2 : normalisation des paramètres Time Scaling et Loop Rate En cliquant sur le bouton Fix Timing (à droite du paramètre Time Scaling), la valeur Time Scaling est multipliée par l’ensemble des paramètres de temps et le paramètre Time Scaling est de nouveau défini sur 100 pour cent. Aucune différence audible ne peut être notée. Il s’agit simplement d’une procédure de normalisation, similaire à la fonction de normalisation de la zone de paramètres Region. Pour les cas où le paramètre Loop Rate est défini sur une valeur synchronisée, un clic sur Fix Timing fait basculer le paramètre Loop Rate sur « as set », en conservant donc le débit absolu. Chapitre 5 ES2 101 Utilisation du menu contextuel de l’enveloppe Vector de l’ES2 Un certain nombre de commandes et fonctions de l’enveloppe Vector sont accessibles en cliquant avec le bouton droit de la souris n’importe où dans l’enveloppe Vector. Vous lancez ainsi le menu local illustré ci-dessous. Choisissez un élément du menu pour effectuer la commande ou fonction correspondante. Utilisation du pavé planaire de l’ES2 Le pavé planaire comporte deux axes, X et Y. L’axe X se trouve dans le plan horizontal et l’axe Y dans le plan vertical. Vous pouvez moduler un paramètre défini par l’utilisateur sur X et un autre sur Y, ce qui vous permet d’utiliser la souris comme une manette de jeu. 102 Chapitre 5 ES2 X et Y. Tous deux possèdent des plages de valeurs négatives et positives. Lorsque vous faites glisser l’icône carrée, les valeurs des deux axes sont continuellement transmises. Menu Vector Mode Paramètres Vector Intensity Menus Vector Target Pavé planaire Sélection d’une cible vectorielle : destinations de modulation Les menus Vector X Target et Vector Y Target déterminent le paramètre modulé par les mouvements de l’icône carrée dans le pavé planaire. Les cibles de modulation sont identiques à celles du routeur. Consultez la rubrique Référence des cibles de modulation de l’ES2 pour obtenir des descriptions. La position de l’icône carrée dans le pavé planaire est également disponible dans le routeur, sous forme d’options Source et Via Pad-X et Pad-Y. Consultez Référence des sources de modulation de l’ES2 et Utilisation des sources Via pour contrôler l’intensité de modulation de l’ES2. Réglage de l’intensité vectorielle : définition de l’intensité de modulation L’intensité maximale, la sensibilité et la polarité de la modulation se règlent par l’intermédiaire des paramètres Vector X Int et Vector Y Int. Pour régler l’intensité de modulation µ Effectuez un glissement vertical dans les champs Vector X Int et Vector Y Int. Utilisez une valeur négative pour inverser la polarité de modulation. Référence des cibles de modulation de l’ES2 Les cibles suivantes sont disponibles pour la modulation en temps réel. Chapitre 5 ES2 103 Cibles d’oscillateur ES2 Le tableau ci-dessous comprend toutes les cibles de modulation liées à des oscillateurs. Target Commentaires Module lesfréquences(hauteur tonale) destrois oscillateurs. Si vous sélectionnez un LFO comme source avec cette cible , des effets de sirène ou de vibrato sont créés. Sélectionnez un des générateurs d’enveloppe avec une attaque nulle, une chute courte, un paramètre Sustain sur zéro et un temps de libération court comme source pour les sons de tom et de grosse caisse. Pitch123 Module la fréquence (hauteur tonale) de l’oscillateur 1. Les faibles modulations d’enveloppe peuvent entraîner la modification de la valeur de désaccord au fil du temps, si l’oscillateur 1 fonctionne à l’unisson avec un autre oscillateur (non modulé). Cet effets’applique également aux autres cibles Pitch et il est particulièrement utile pour les sons de cuivres synthétiques. Pitch 1 Pitch 2 Module la fréquence (hauteur tonale) de l’oscillateur 2. Pitch 3 Module la fréquence (hauteur tonale) de l’oscillateur 3. Permet de contrôler l’importance du désaccord entre les trois oscillateurs. La sensibilité de toutes les cibles de modulation de la hauteur tonale est déterminée par l’intensité de la modulation. Elle est mise à l’échelle selon les listes ci-dessous, ce qui vous permet de créer des vibratos très délicats dans la plage des centièmes (1/100e de demi-ton) comme d’énormes sauts de hauteur tonale, en octaves. • Intensité de modulation de 0 à 8 : pas de 1,25 cents. • Intensité de modulation de 8 à 20 : pas de 3,33 cents. • Intensité de modulation de 20 à 28 : pas de 6,25 cents. • Intensité de modulation de 28 à 36 : pas de 12,5 cents. • Intensité de modulation de 36 à 76 : pas de 25 cents. • Intensité de modulation de 76 à 100 : pas de 100 cents. Il en résulte les réglages d’intensité de modulation suivants. • Une intensité de 8 entraîne une modification de la hauteur tonale de 10 centièmes. • Une intensité de 20 entraîne une modification de la hauteur tonale de 50 centièmes (un quart de ton). • Une intensité de 28 entraîne une modification de la hauteur tonale de 100 centièmes (un demi-ton). • Une intensité de 36 entraîne une modification de la hauteur tonale de 200 centièmes (deux demi-tons). • Une intensité de 76 entraîne une modification de la hauteur tonale de 1 200 centièmes (une octave). • Une intensité de 100 entraîne une modification de la hauteur tonale de 3 600 centièmes (trois octave). Detune 104 Chapitre 5 ES2 Target Commentaires Selon les formes d’onde définies pour les trois oscillateurs, cette cible peut servir à moduler : • la largeur d’impulsion des formes d’onde rectangulaires et pulsées, • l’intensité de la modulation de fréquence (oscillateur 1 uniquement), • la couleur du bruit (oscillateur 3 uniquement), • la position des Digiwaves. La cible OscWaves affecte l’ensemble des oscillateurs. Pour plus d’informationssur les effets de ces modulations, consultez les rubriques Utilisation de la Pulse Width Modulation dans l’ES2, Utilisation de la modulation de fréquence dans l’ES2, Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement) et Utilisation des Digiwaves dans l’ES2. OscWaves Selon la forme d’onde sélectionnée pour Oscillator 1, vous pouvez contrôler la largeur d’impulsion des ondes rectangulaires et larges, la valeur de la fréquence de modulation ou la position du Digiwave. Remarque : dans le cas des synthétiseurs FM classiques, la valeur FM est contrôlée en temps réel par les générateurs d’enveloppe sensibles à la vélocité. Sélectionnez un des générateurs ENV comme source pour générer ce type de son. Osc1Wave Fonctionne comme Osc1Wave, sauf que l’oscillateur 2 ne présente pas la fonction FM. Veuillez noter que la modulation d’impulsions en durée s’applique également aux ondes rectangulaires synchronisées et modulées en anneau. Osc2Wave Fonctionne comme Osc1Wave et Osc2Wave, sauf que l’oscillateur 3 ne présente ni la fonction FM, ni la modulation en anneau. Il propose, en revanche, la fonction Noise, dont la couleur peut être modulée à l’aide de ce paramètre. Osc3Wave Les transitions entre les Digiwaves lors d’une modulation par table d’ondes (qui vous permet de basculer entre les différentes Digiwaves) sont toujours lisses. Vous pouvez utiliser la cible OscWaveB pour moduler sans arrêt la forme des transitions de lisse à dure. Cette cible s’applique à tous les oscillateurs. OscWaveB Si vous avez activé la modulation par table d’ondes pour une Digiwave (à l’aide de la cible Osc1Wav), vous pouvez utiliser cette cible pour moduler la forme de la transition. Lorsque vous appliquez la modulation de fréquence à l’oscillateur 1, la cible Osc1WaveB propose des intensités FM bien plus élevées que les cibles Osc1 FM ou Osc1Wave. Osc1WaveB Identique à la cible ci-dessus pour une Digiwave utilisant la cible Osc2Wav. Osc2WaveB Identique à la cible ci-dessus pour une Digiwave utilisant la cible Osc3Wav. Osc3WaveB Chapitre 5 ES2 105 Target Commentaires SineLevl (Sine Level) permet la modulation du niveau d’onde sinusoïdale de l’oscillateur 1. Le paramètre définit le niveau du premier ton partiel de l’oscillateur 1. Consultez Épaississement du son de l’ES2 grâce au niveau sinusoïdal. SineLev1 OscLScle (échelle du niveau des oscillateurs) permet de moduler les niveaux des trois oscillateurs simultanément. Une valeur de modulation de 0 coupe le son de tousles oscillateurs, tandis qu’une valeur de 1 augmente le gain de l’ensemble du mixage de 12 dB. La modulation est appliquée avant l’étape d’overdrive, autorisant ainsi les distorsions dynamiques. OscLScle (Niveau de l’oscillateur 1) Permet la modulation du niveau de l’oscillateur 1. Osc1Levl (Niveau de l’oscillateur 2) Permet la modulation du niveau de l’oscillateur 2. Osc2Levl (Niveau de l’oscillateur 3) Permet la modulation du niveau de l’oscillateur 3. Osc3Levl Cibles des filtres de l’ES2 Le tableau ci-dessous comprend toutes les cibles de modulation liées aux filtres. Target Commentaires Module le paramètre Cutoff Frequency du Filtre 1. Consultez Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2. Cutoff 1 Resonance 1 (Reso 1) Module le paramètre Resonance du Filtre 1. Cutoff 2 Module le paramètre Cutoff Frequency du Filtre 2. Resonance 2 (Reso 2) Module le paramètre Resonance du Filtre 2. Détermine l’intensité de la modulation de fréquence du filtre passe-bas (LPF FM) du Filtre 2, avec une onde sinusoïdale (ayant la même fréquence que l’oscillateur 1). Ce paramètre est décrit à la rubrique Modulation de la fréquence du Filtre 2 dans l’ES2. LPF FM Module la fréquence de coupure des deux filtres en parallèle. C’est comme appliquer la même modulation aux paramètres Cutoff 1 et Cutoff 2 dans deux routages de modulation. Cut 1+2 Cut1inv2 (Cutoff 1 normale et Cutoff 2 inversée) permet de moduler simultanément les fréquences de coupure du premier et du second filtre, de façon inverse (dans des directions opposées). Autrement dit, lorsque la valeur de la fréquence de coupure du premier filtre augmente, la coupure du second filtre diminue, et vice versa. Pour les cas où vous avez associé le Filtre 1, défini comme filtre passe-haut, et le Filtre 2 en mode série, les deux agissent comme un filtre passe-bande. Dans cette configuration, la modulation du paramètre Cut1 inv 2cible provoque une modulation de la largeur de bande du filtre passe-bande. Cut1inv2 106 Chapitre 5 ES2 Target Commentaires (FltBlend) Module le paramètre Filter Blend. Consultez Présentation de l’interface ES2. Utilisation du paramètre Filter Blend Autres cibles de l’ES2 Le tableau ci-dessous comprend toutes les autres cibles de modulation. Target Commentaires Cette cible module la phase dynamique, autrement dit le niveau des voix. Si vous sélectionnez Amp comme cible et que vous la modulez avec un LFO comme source, le niveau change régulièrement et vous entendez un effet de trémolo. Amp Cette cible module la position panoramique du son dans le spectre stéréo ou Surround. Si vous modulez la balance avec un LFO, vous obtenez un trémolo stéréo ou Surround (également appelé panoramique automatique ou autopan). En mode Unison, les différentes voix utilisées se voient réparties sur toute la largeur du spectre stéréo ou Surround. Vous pouvez néanmoins encore moduler le paramètre Pan : les différents positionnementssont alors modifiés en parallèle. Le paramètre étendu Surround Range permet de définir la plage d’angles issue des valeurs de modulation. Par exemple, si la balance est modulée selon la valeur maximale d’un LFO (avec une forme d’onde en dents de scie), une valeur Surround Range de 360 provoque des mouvements circulaires au niveau de la sortie voix. Pan Ce paramètre (disponible uniquement dans les instances Surround de l’ES2) permet de contrôler dynamiquement le volume de la sortie voix à diffuser entre les différents canaux Surround. Les valeurs négatives diminuent l’effet de Surround. Diversity (Asymétrie LFO1) Peut moduler la forme d’onde sélectionnée du LFO 1. Pour une onde carrée, ce paramètre modifie la largeur de l’impulsion. Pour une onde triangulaire, il fait évoluer la forme entre triangles et dents de scie. Pour une onde en dents de scie, il déplace son point zéro. Lfo1Asym Cette cible permet de moduler le lissage de la forme d’une onde carrée et aléatoire. Si le LFO utilise une onde triangulaire ou en dents de scie, la cible modifie les courbes, en les faisant passer par les stades convexes, linéaires et concaves. Lfo1Curve Cibles de modulation mise à l’échelle de l’ES2 Toutes les cibles de modulation ci-dessous entraînent une modulation mise à l’échelle, ce quisignifie que la valeur du paramètre Target est multipliée par la valeur de modulation. Ainsi, une valeur de modulation de 0,0 n’a aucun effet alors qu’une valeur de modulation de +1,0 revient à multiplier par 10 et une valeur de modulation de -1,0 revient à multiplier par 0,04. Chapitre 5 ES2 107 Target Commentaires Cette cible module la fréquence (débit) du LFO 1. Vous pouvez automatiquement accélérer ou ralentir le débit du LFO 1 en modulant la cible LFO1Rate avec l’un des générateurs d’enveloppe (ENV) ou avec LFO2. LFO1Rate (Attaque de l’enveloppe 2) Module le temps d’attaque du deuxième générateur d’enveloppe. Env2Atck (Chute de l’enveloppe 2) Module le temps de chute du deuxième générateur d’enveloppe. Si vous avez sélectionné Env2Dec comme cible et Velocity comme source, la durée de chute de la note jouée dépend de la force avec laquelle vous avez appuyé sur cette note. Si vous sélectionnez Keyboard comme source, les notes aiguës ont une chute plus rapide (ou plus lente). Env2Dec Le paramètre Env2Rel (libération de l’enveloppe 2) module le temps de libération du deuxième générateur d’enveloppe. Env2Rel Env2Time (Enveloppe 2 tous temps) module tous les paramètres temporels d’ENV2 : Attack, Decay, Sustain et Release time. Env2Time Env3Atck (attaque de l’enveloppe 3) module le temps d’attaque d’ENV3. Env3Atck Env3Dec Env3Dec (chute de l’enveloppe 3) module le temps de chute d’ENV3. Env3Rel (relâchement de l’enveloppe 3) module le temps de relâchement d’ENV3. Env3Rel Env3Time (Enveloppe 3 tous temps) module tous les paramètres temporels d’ENV3 : Attack, Decay, Sustain et Release time. Env3Time Cette cible module la durée de l’effet Glide (portamento). Si vous modulez l’effet Glide, en utilisant Velocity comme source, la vitesse de frappe détermine la durée nécessaire pour que les notes jouées atteignent leur hauteur tonale cible. Glide Référence des sources de modulation de l’ES2 Les sources de modulation suivantes sont disponibles : Source Commentaire LFO1 LFO 1 est utilisé comme source. LFO2 LFO 2 est utilisé comme source. ENV1 Le générateur d’enveloppe 1 est utilisé comme source. ENV2 Le générateur d’enveloppe 2 est utilisé comme source. Le générateur d’enveloppe 3 est utilisé comme source. Le troisième générateur sert toujours à contrôler le niveau sonore global. ENV3 Définissez les axes du pavé planaire comme sources de modulation pour la cible de modulation sélectionnée. Consultez Utilisation du pavé planaire de l’ES2 et Présentation de l’enveloppe Vector de l’ES2. Pad-X, Pad-Y 108 Chapitre 5 ES2 Source Commentaire Max définit la valeur de cette source sur + 1. Cela offre des options intéressantes pour contrôler l’intensité de la modulation avec toutes les valeurs via possibles. Max Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à Do3 (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantessont –-1 et , respectivement. Modulez la cible Cut 1+2 avec la source Kybd pour contrôler lesfréquences de coupure desfiltresselon la position du clavier : lorsque vous montez ou descendez la gamme sur le clavier, les fréquences de coupure changent. Avec une intensité de modulation de 0,5, les fréquences de coupure augmentent proportionnellement aux hauteurs tonales des notes du clavier. Kybd Velo La sensibilité Velocity sert de source de modulation. La roulette de pitch bend est utilisée comme source de modulation bipolaire. C’est également possible lorsque le paramètre Bend Range des oscillateurs est défini sur 0. Bender La roulette de modulation sert de source de modulation.Remarque : pour la plupart des applications standard, vous vous servirez probablement de la roulette comme contrôleur via. Traditionnellement, elle permet de contrôler l’intensité des modulations LFO périodiques. Dans notre cas précis, vous pouvez l’employer pour des modulations directes et statiques, notamment pour le contrôle des fréquences de coupure des filtres (Target = Cut 1+2). ModWhl Aftertouch sert de source de modulation. L’ES2 réagit à la pression polyphonique (Aftertouch polyphonique).Remarque : si vous définissez la cible sur Cut 1+2 , les fréquences de coupure augmentent et diminuent, selon la force du jeu après la première note jouée sur le clavier MIDI sensible au toucher. Touch La roulette de modulation et le paramètre Aftertouch sont utilisés comme sources de modulation. Whl+To Les contrôleurs MIDI disponibles dans le routeur sont nommés Ctrl A à F et peuvent être assignés à des numéros arbitraires de contrôleurs. Veuillez consulter la rubrique Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2. Contrôleurs MIDI A–F RndNO1 (Note activée aléatoire 1) génère une valeur de modulation aléatoire comprise entre - 1,0 et 1,0. Cette valeur change à chaque déclenchement ou redéclenchement de note. La modulation par note activée (aléatoire) reste constante pendant toute la durée de la note, jusqu’au déclenchement de la note activée suivante.Remarque : la valeur n’est pas modifiée si vousjouez legato en mode legato. RndN01 Chapitre 5 ES2 109 Source Commentaire RndNO2 (Note activée aléatoire 2)se comporte comme le paramètre précédent, mais il glisse, sans échelonner, vers la nouvelle valeur aléatoire, à l’aide de la durée Glide (modulation incluse). Autre différence avec la note activée aléatoire 1 : en mode legato, la valeur issue de la modulation aléatoire change lorsque vousjouez en mode legato. RndN02 SideCh (modulation Side Chain) utilise un signal Side Chain comme signal (déclencheur) de modulation. Vous pouvez sélectionnez la source Side Chain dans le menu Side Chain situé dans la zone supérieure grise de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. SideCh Référence des sources Via de modulation de l’ES2 Les sources suivantes peuvent être utilisées pour contrôler l’intensité de la modulation. via Source Commentaire Le LFO 1 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO1 Le LFO 2 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO2 ENV1 L’ENV1 contrôle l’intensité de la modulation. ENV2 L’ENV2 contrôle l’intensité de la modulation. ENV3 ENV3 contrôle l’intensité de la modulation. Les deux axes du pavé planaire sont également disponibles sous forme de sources via, ce qui vous permet de contrôler les intensités de modulation. Pad-X, Pad-Y Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à C3 (Do3) (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantes sont - 1 et + 1, respectivement. Si vous sélectionnez Pitch123 comme cible, vousla modulez avec la source LFO1 et voussélectionnez Keyboard comme valeur Via, la profondeur du vibrato varie selon la note jouée. Autrement dit, l’intensité du vibrato est différente lorsque des notes plus aiguës ou plus graves que le positionnement Kybd défini sont jouées. Kybd Si vous sélectionnez le paramètre de vélocité (Velo) comme valeur Via, l’intensité de la modulation dépend de la vélocité. La modulation est plus ou moins accentuée selon la rapidité (force) du jeu. Velo Bender La roulette de pitch bend contrôle l’intensité de la modulation. Si vous sélectionnez ModWhl (Modulation Wheel) comme valeur via, l’intensité de la modulation est contrôlée par la roulette de modulation de votre clavier MIDI. ModWhl 110 Chapitre 5 ES2 via Source Commentaire Si voussélectionnez le paramètre Touch (Aftertouch) comme valeur Via, l’intensité de la modulation dépend de la force utilisée pour appuyer sur les touches du clavier MIDI sensible au toucher, une fois la première note jouée (l’aftertouch est également connu sous l’expression sensibilité à la pression). Touch La roulette de modulation et l’aftertouch contrôlent tous deux l’intensité de la modulation. Whl+To Les contrôleurs MIDI disponibles dans le routeur sont nommés Ctrl A à F, et non Expression, Breath et General Purpose 1 à 4. Les messages MIDI Control Change 16 à 19 sont également appelés General Purpose Slider 1/2/3/4. Ces contrôleurs peuvent être assignés à des numéros de contrôleurs arbitraires via les menus d’assignation de contrôleurs MIDI situés en bas de l’interface (appuyez sur le bouton MIDI pour accéder aux menus A à F). Contrôleurs MIDI A–F RndNO1 (Note activée aléatoire 1) génère une valeur d’intensité de modulation aléatoire comprise entre - 1,0 et 1,0, qui change à chaque déclenchement ou redéclenchement de note. La modulation par note activée aléatoire reste constante pendant toute la durée de la note, jusqu’au déclenchement de la note activée suivante.Remarque : la valeur n’est pas modifiée si vousjouez legato en mode legato. RndN01 RndNO2 (Note activée aléatoire 2)se comporte comme le paramètre précédent, mais il glisse, sans échelonner, vers la nouvelle valeur d’intensité aléatoire, à l’aide de la durée Glide (modulation incluse). Autre différence avec la note activée aléatoire 1 : en mode legato, la valeur issue de la modulation aléatoire change lorsque vousjouez en mode legato. RndN02 SideCh (modulation Side Chain) utilise un signal Side Chain comme signal (déclencheur) d’intensité de modulation. Vous pouvez sélectionnez la source Side Chain dans le menu Side Chain situé dans la zone supérieure grise de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. SideCh Chapitre 5 ES2 111 Utilisation de la section de traitement d’effets intégré de l’ES2 L’ES2 possède un processeur d’effets intégré. Chaque modification apportée aux paramètres de ces effets est enregistrée avec chaque réglage de son. Les paramètres Intensity et Speed sont partagés par les effets Chorus, Flanger et Phaser. Cliquez pour choisir un type puissant ou léger d’effet Distortion. Cliquez pour choisir l’effet Chorus, Flanger ou Phaser. Utilisez le paramètre Tone pour modifier la couleur tonale de l’effet Distortion. Réglez pour définir le niveau du paramètre Distortion. Vous ne pouvez activer que deux effets en même temps. • Distorsion • Choix entre les effets Chorus, Flanger ou Phaser. Ces effets partagent les mêmes potentiomètres de contrôle : Intensity et Speed. Effet Distortion de l’ES2 L’effet Distortion comprend les paramètres suivants : • Bouton Soft : active le mode Soft de l’effet Distortion. Le circuit de distorsion sonne un peu comme un overdrive à tube. • Bouton Hard : active le mode Hard de l’effet Distortion. L’effet de distorsion sonne comme une boîte de distorsion totalement transistorisée. • Potentiomètre Distortion : définit la quantité de distorsion. Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Bouton Tone : contrôle la partie aiguë de la sortie de l’effet de distorsion. 112 Chapitre 5 ES2 Effet Chorus de l’ES2 Un effet de chœur (chorus) est basé sur une ligne de retard dont la sortie est mixée avec le signal d’origine, pur. Le temps de retard est court, modulé de façon périodique, provoquant ainsi des variations de tonalité. Ces variations, combinées à la tonalité du signal initial, produisent l’effet de cœur. Pour activer l’effet Chorus µ Activez le bouton Chorus. • Le paramètre Intensity détermine la profondeur de l’effet (la « richesse » de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Effet Flanger de l’ES2 Un effet Flanger fonctionne de façon similaire à un effet Chorus, avec toutefois des temps de retard encore plus courts. Le signal de sortie est envoyé vers l’entrée de la ligne de retard. De cette façon, de nombreuses résonances harmoniques sont créées, évoluant de manière cyclique sur le spectre et conférant un son « métallique » au signal. Pour activer l’effet Flanger µ Cliquez sur le bouton Flanger. • Le paramètre Intensity détermine la profondeur de l’effet (le « tranchant » de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Effet Phaser de l’ES2 Un effet Phaser mixe un signal retardé et un signal d’origine. Le retard est produit par un filtre passe-tout qui applique au signal un délai relatif à la fréquence. Ce dernier est exprimé en tant qu’angle de phase. L’effet repose sur un filtre en peigne. Il s’agit essentiellement d’une rangée de crans inharmoniques (et non des résonances, comme avec l’effet Flanger), parcourant également le spectre de fréquences. Pour activer l’effet Phaser µ Cliquez sur le bouton Phaser. • Le paramètre Intensity détermine la profondeur de l’effet « balayage » (la largeur de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Chapitre 5 ES2 113 Création de variations sonores aléatoires de l’ES2 L’ES2 offre une fonction unique, qui vous permet de faire varier les paramètres du son de manière aléatoire. Vous pouvez définir l’amplitude de cette variation aléatoire et limiter les variations à des éléments spécifiques du son. Ces variations seront, sans nul doute, une source d’inspiration et une aide pour la création de sons. Elles pourront même vous amuser à l’occasion. Réglez le curseur pour déterminer le niveau de randomisation. Choisissez les paramètres que vous souhaitez randomiser avec les options de ce menu. Cliquez ici pour appliquer des réglages sonores aléatoires. Pour modifier un son de manière aléatoire µ Cliquez sur le bouton RND, en dessous de la partie Filter. D’un simple clic vous pouvez donc lancer cette fonction et la réutiliser aussi souvent que vous le souhaiter. Remarque : cette fonction n’a rien à voir avec les modulations aléatoires en temps réel. La fonction aléatoire modifie les valeurs de manière aléatoire, à chaque fois que vous cliquez sur le bouton RND. Les modulations aléatoires en temps réel s’effectuent via les formes d’onde aléatoires des LFO ou grâce au paramètre Analog, qui permet le réglage aléatoire de la hauteur tonale. Astuce : nous vousrecommandons d’enregistrer, au fur et à mesure, touslessons obtenus avec la fonction RND et que vous souhaitez conserver. Enregistrez le réglage sous un nouveau nom, en utilisant le menu Settings de la fenêtre du module. Définition du niveau de randomisation dans l’ES2 Vous pouvez définir le niveau d’altération du paramètre Random avec le curseur RND Int, situé à droite du bouton Random. Pour augmenter le niveau de variation aléatoire µ Déplacez encore le curseur vers la droite. La fonction de variation aléatoire du son modifie toujours les valeurs actuelles des paramètres, non celles du fichier de réglage d’origine. De ce fait, si vous cliquez plusieurs fois de suite sur RND, le son devient de plus en plus éloigné de l’original. 114 Chapitre 5 ES2 Pour créer plusieurs variations légères du réglage actuel µ Rechargez le réglage d’origine après chaque altération aléatoire, en l’enregistrant avec un nouveau nom si vous le souhaitez. Restriction de la randomisation aux groupes de paramètres de l’ES2 Il est possible que certains aspects du son généré vous conviennent déjà parfaitement. Il est alors préférable de ne pas les altérer. C’est notamment le cas lorsque votre son a un côté percussif plaisant et que vous avez envie d’essayer quelques variations de couleur sonore tout en le préservant. Pour éviter la variation aléatoire de n’importe quel temps d’attaque, vous pouvez restreindre la variation aux paramètres des oscillateurs ou des filtres. Pour ce faire, vous pouvez régler la destination RND sur Waves ou Filters, excluant ainsi les paramètres d’enveloppe du processus de variation. Remarque : les paramètres Master Level, Filter Bypass et Oscillator On/Off ne sont jamais randomisés. De même, lesrandomisations de l’enveloppe Vector désactivent le paramètre Solo Point. Il est possible de restreindre les variations sonores aléatoires aux groupes de paramètres répertoriés ci-dessous : Groupe de paramètres Commentaires Tous les paramètres, hormis ceux mentionnés plus haut, sont randomisés, All Tous les paramètres, hormis ceux relatifs au routeur et à la hauteur tonale de base (réglages demi-tons des oscillateurs), sont altérés. Toutefois, le réglage fin des oscillateurs est randomisé. à l’exception de Router and Pitch Tous les paramètres, hormis les paramètres de l’enveloppe Vector, sont altérés. Cela permet de préserver le feeling rythmique d’un réglage donné. All except Vector Env Seuls les paramètres Wave et Digiwave des oscillateurs sont altérés. Les autres paramètres des oscillateurs (accord, mixage et routages de modulation dans le routeur) sont préservés. Waves Les nouvelles Digiwavessontsélectionnées pour tousles oscillateurs. Les autres paramètres des oscillateurs (accord, mixage et routages de modulation dans le routeur) sont préservés. DigiWaves Les paramètres de filtre suivant sont modifiés : Filter Structure (configuration en série ou en parallèle), Filter Blend, Filter Mode, Cutoff Frequency et Resonance pour lesfiltres 1 et 2. Les paramètres Fatness et Filter FM du filtre 2 sont également randomisés. Filtres Tous les paramètres des trois enveloppes (ENV 1, ENV 2 et ENV 3) sont randomisés. L’enveloppe Vector est préservée. Envs LFOs Tous les paramètres des deux LFO sont altérés. Tous les paramètres du routeur (dans tous les routages de modulation)sont altérés: tousles paramètres d’intensité, cibles, via et sources sont modifiés. Router Chapitre 5 ES2 115 Groupe de paramètres Commentaires FX Tous les paramètres relatifs aux effets sont randomisés. Tous les paramètres d’enveloppe Vector sont altérés, y compris le routage X/Y du pavé planaire. Vector Envelope Les niveaux de mixage des oscillateurs (positionnement de l’icône carrée dans le triangle) pour les points de l’enveloppe Vector sont altérés. En revanche, le rythme et le tempo de la modulation (paramètres temporels des points) ne sont pas modifiés. Vector Env Mix Pad Les positions de l’icône carrée du pavé planaire (points de l’enveloppe Vector) sont randomisés. En revanche, le routage X/Y n’est pas modifié. Le rythme et le tempo de la modulation (paramètres temporels des points) ne sont pas modifiés non plus. Vous pouvez spécifier un sens unique de randomisation en choisissant l’une des options suivantes : • Vector Env XY Pad X only • Vector Env XY Pad Y only Options Vector Env XY Pad Seuls les paramètres temporels des points de l’enveloppe Vector sont altérés. Vec Env Times La structure même de l’enveloppe Vector est altérée. Cela concerne tous les temps, le point Sustain, le nombre de points et tous les paramètres de boucle. Vec Env Structure Les temps de réorganisation de l’enveloppe vectorielle (au sein des boucles) sont altérés : cela inclut la valeur Loop Smooth si Loop Mode est défini sur Forward ou sur Backward. Vec Env Shuffle Times Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 La section au bas de l’interface de l’ES2 propose trois vues, accessibles en cliquant sur les boutons respectifs à gauche : Cliquez ici pour choisir une présentation. Paramètres de macro-contrôle • Macro : propose un certain nombre de macro-paramètres qui affectent des groupes de plusieurs autres paramètres. • MIDI : vous permet d’affecter des contrôleurs MIDI à desroutages précis de modulation (consultez Référence des sources Via de modulation de l’ES2). 116 Chapitre 5 ES2 • Macro Only : remplace l’interface de l’ES2 par une présentation dédiée plus petite et limitée aux macro-paramètres. Utilisation des macro-paramètres de contrôle de l’ES2 Les macro-paramètresfournissent un accèsrapide à plusieurs paramètresliés et connexes. Lorsque vous modifiez les contrôles de ces macros, un, deux, voire plusieurs paramètres de l’interface ES2 sont mis à jour en conséquence. Par exemple, le réglage du macro-contrôle Detune affecte simultanément le paramètre Analog et les paramètres de fréquence brute et fine des oscillateurs. Important : l’impact de chaque contrôle macro dépend entièrement des valeurs de paramètres du réglage actuel. Dans certaines sonorités, il est possible que plusieurs contrôles macro n’aient aucun effet. Un autre avantage des macro-paramètres est qu’ils sont compatibles avec les réglages des instruments GarageBand basés sur l’ES2. Vous pouvez donc utiliser l’ES2 ou certains réglages de synthétiseur GarageBand indifféremment. Affectation des contrôleurs dans l’ES2 En cliquantsur le bouton MIDI, en bas à gauche de l’interface, vous affichez les affectations de contrôleurs. Six menus, de Ctrl A à Ctrl F, sont disponibles. Vous pouvez utiliser n’importe quel contrôleur MIDI indiqué dans les menus pour ces sources de contrôle. Consultez Utilisation des oscillateurs de l’ES2. Pour assigner un contrôleur µ Cliquez sur un menu de contrôle, puis choisissez dansla liste le nom/numéro du contrôleur que vous souhaitez utiliser. Pour apprendre l’assignation de contrôleurs via MIDI 1 Cliquez sur un menu de contrôle, puis choisissez l’élément -Learn-. 2 Déplacez le contrôleur souhaité sur votre contrôleur ou clavier MIDI. Remarque : si aucun message MIDI approprié n’est reçu dans les 20 secondes, le contrôle sélectionné rétablit l’assignation/la valeur précédente. Chapitre 5 ES2 117 Informations sur les contrôleurs 14 bits non affectables Les contrôleurs 0 et 32 sont réservés aux messages de sélection de banque ; le contrôleur 1 est utilisé comme source de modulation dans le routeur ; les contrôleurs 33 à 63 fonctionnent comme des LSB pour les contrôleurs 1 à 31 ; les contrôleurs 64 à 69 sont réservés aux messages des pédales; les contrôleurs 120 à 127 sont réservés aux messages de mode de canal. Dans la caractéristique MIDI, tous les contrôleurs de 0 à 31 sont connus comme des définitions de contrôleur MSB (Most Significant Bit, Bit le plus significatif). Chacun de ces contrôleurs (0 à 31) contient également une définition de contrôleur LSB (Least Significant Bit, Bit le moinssignificatif) (contrôleurs 32 à 63). L’utilisation de ce contrôleur LSB secondaire en association avec le contrôleur MSB permet d’obtenir une résolution de 14 bits au lieu de 7 bits. L’ES2 reconnaît ces messages de modification de contrôleur, comme pour un contrôleur Breath ou Expression. Autrement dit : • Les contrôleurs 14 bits sont des paires de messages de changement de commande (CC), dans lesquelles le numéro du second message CC (LSB) est supérieur de 32 au premier message CC (MSB). Voici des exemples de paires 14 bits : CC1/33, CC7/39 et CC10/42. • Les contrôleurs 14 bits sont dotés d’une résolution de 16 384 pas, qui permet un contrôle très précis des paramètres du module. Le premier message CC d’une paire 14 bits (MSB) a une résolution brute de 128 pas. Chacun de ces pas peut être divisé en 128 sous-pas supplémentaires, grâce au second message CC (LSB). Ainsi, 128 x 128 = 16 384 pas. • Il n’est pas nécessaire de créer de nouveaux types de données, voire destypesspéciaux, pour utiliser les contrôleurs 14 bits. Une résolution plus fine est obtenue en associant le message CC affecté (MSB) au LSB correspondant. Le message CC affecté dans l’ES2 peut toujours être utilisé seul si votre contrôleur MIDI n’est pas en mesure d’envoyer des messages 14 bits, ce qui limite la résolution à 7 bits, soit 128 pas. La capacité 14 bits constitue la raison pour laquelle les numéros CC 33 à 63 ne peuvent pas être affectés dans les menus Ctrl A à F. L’utilisation de ces numéros CC (LSB) entraînerait la modification de 1/128e de la plage de paramètres ou, en d’autres termes, 128 pas continus sur 16 384. 118 Chapitre 5 ES2 Utilisation de l’ES2 en mode Surround Danslesinstances Surround de l’ES2, deux paramètres globaux supplémentairess’affichent dans la section à curseurs Extended Parameters, au bas de l’interface : Surround Range et Surround Diversity. • Surround Range : détermine la plage de l’angle Surround. Les valeurs possibles vont de 0 à 360 degrés. Autrement dit, ce paramètre détermine l’ampleur du champ Surround. Vous pouvez moduler le mouvement dessons(au sein de la plage Surround) en utilisant la cible Pan dans le routeur. • Surround Diversity : détermine la manière dont le signal de sortie est réparti entre les haut-parleurs Surround. Si vous définissez une valeur égale à 0, seuls les haut-parleurs les plus proches de la position du signal d’origine traiteront le signal. Une valeur Diversity égale à 1 distribue une quantité de signal identique à l’ensemble des haut-parleurs. Vous pouvez moduler la répartition des signaux entre les haut-parleurs avec la cible Diversity dans le routeur. Guide d’initiation à l’ES2 : création de sons Ce guide d’initiation vous explique la création complète des sons couramment utilisés. Le guide d’initiation intitulé « Utilisation de modèles » vous explique également le processus de création de sons, mais à partir d’un certain nombre de modèles. Consultez Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons. Pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre de l’ES2, ouvrez le menu Settings et sélectionnez Tutorial Settings. Chapitre 5 ES2 119 Conception complète de sons, réglage du filtrage et Digiwaves dans l’ES2 Le réglage d’initiation Analog Saw Init est conçu pour être utilisé comme point de départ lorsque vous programmez complètement de nouveaux sons. Lors de la programmation de sons entièrement nouveaux, les concepteurs professionnels apprécient d’utiliser ce type de réglage, qui offre un son non filtré à onde en dents de scie sans enveloppe, modulation ou toute autre astuce. Ce type de réglage s’avère également utile lorsque vous apprenez à utiliser un nouveau synthétiseur. Vous pouvez, en effet, accéder à l’ensemble des paramètres sans vous soucier d’éventuelles valeurs préréglées. • Nous allons commencer par nous attaquer aux filtres, au centre de tout synthétiseur substractif. Testez les quatre types de filtre passe-bas (12 dB, 18 dB, 24 dB et fat ; filtre 2) avec différentes valeurs Cut (Cutoff Frequency) et Res (Resonance). Définissez Env 2 comme enveloppe du filtre. Cette configuration de modulation est prédéfinie dans le routeur. • Placez le curseur Filter Blend complètement à gauche. Vous pouvez ainsi entendre le son issu du premier filtre seul. Dans de nombreux cas, vous préférerez certainement utiliser le second filtre. Toutefois, le premier filtre a certains avantages. Outre le filtre passe-bas doté d’une pente de 12 dB/octave (Lo), le filtre 2 propose également un mode passe-haut, crête, passe-bande (BP) ou refus de bande (BR). Le passe-bas du filtre 1 paraît plus « doux » que celui du filtre 2. Il convient très bien aux sons pour lesquels l’effet de filtre est ou doit être moins audible, comme pour les sons de cordes et FM. Les sons distordus de type TB-303 sont obtenus plus facilement avec le premier filtre. • Ce réglage permet, en outre, d’observer les différentes formes d’onde des oscillateurs. Les formes d’onde analogiques se définissent dans la présentation Editor. Pour sélectionner les Digiwaves, réglez le paramètre Wave de l’oscillateur 1 sur Digiwave. Création de sons épais dans l’ES2 avec le mode Detuning et Unison de l’oscillateur Les sons de synthétiseur « épais » ont toujours été prisés et la tendance risque de se poursuivre, si on considère les styles de musique moderne trance, techno, Rn’B, et plus encore. Le réglage Analog Saw 3 Osc présente trois oscillateurs désaccordés et génère un son particulièrement épais Nous vous présentons ci-dessous quelques outils supplémentaires permettant d’obtenir un son encore plus épais. • Vérifiez le son de base obtenu avec les trois oscillateurs, en utilisant différents réglages de filtre et d’enveloppe. • Testez l’effet Chorus avec différentes intensités et vitesses. • Lancez le mode Unison et affectez une valeur supérieure à Analog. Comme le son est polyphonique, chaque note est doublée. Le nombre de notes pouvant être jouées simultanément est réduit de 10 à 5. Le son est alors plus riche et large. En associant le mode Unison à des valeurs Analog élevées, vous diffusez le son sur l’ensemble du spectre stéréo ou Surround. 120 Chapitre 5 ES2 Dans la plupart des réglages prédéfinis, le mode Unison est activé. Or, ce mode demande énormément de puissance de traitement. Si votre ordinateur n’est pas assez puissant, vous pouvez le désactiver et insérer un effet Ensemble sur un bus, en vue d’une utilisation avec plusieurs modules. Vous économisez ainsi lesressources de traitement. Vous pouvez également économiser les ressources en appliquant la fonction Freeze ou Bounce à plusieurs pistes d’instruments logiciels. Création de sons et d’effets monophoniques désaccordés avec l’ES2 Le réglage Analog SawUnison est un son de base non filtré, épais et très désaccordé. Trois oscillateurs en dents de scie sont utilisés, mails ils sont désaccordés encore davantage. L’association du mode Unison à une valeur Analog élevée joue un rôle central, sauf que cette fois, le mode monophonique est utilisé pour assembler dix voix. Sans ajout d’effets, le son obtenu est extrêmement chargé, comme danslesinnombrables productions dance et trance. À l’aide des réglages de filtre et d’enveloppe appropriés, il est facile de définir les sons électroniques convenant parfaitement pour l’arpégiation et le séquençage. • Définissez le paramètre Cutoff Frequency du filtre 2 sur 0. Vous activez ainsi l’enveloppe prédéfinie pour le filtre. N’hésitez pas à essayer différents réglages d’enveloppe. • Réglez l’oscillateur 1 pour obtenir un son une ou deux octaves plus bas. • Augmentez la valeur du paramètre Drive ou Distortion. • Définissez le générateur Env 2 de sorte qu’il prenne en compte la vélocité du jeu. Vous pouvez ainsi effectuer des modulations de filtre sensibles à la vélocité. • Ajoutez un effet de retard à une tranche de console d’instrument de l’ES2 (ou une cible de bus). Création de sons de basses clairs avec un seul oscillateur dans l’ES2 Il n’est pas obligatoire d’utiliser plusieurs oscillateurs pour générer un son. De nombreux sons simples et efficaces requièrent l’utilisation d’un seul oscillateur. Les sons de basses synthétisés en sont un exemple type : ils peuvent être créés rapidement et facilement avec le réglage élémentaire Analog Bass clean. Le son de base a une forme d’onde rectangulaire et il est transposé une octave en dessous. Le son est filtré par le filtre 2. L’effet spécial de ce son réside dans son association de Legato et de Glide (portamento). Lorsque le jeu est staccato, aucun effet glissé n’est appliqué. Lorsque vous jouez legato, la tonalité passe délicatement d’une note à une autre. Pour redéclencher les enveloppes, vous devez relâcher toutes les touches avant de jouer une nouvelle note. • Essayez différents réglages pour le filtre et le générateur d’enveloppe. • Remplacez la forme d’onde rectangulaire par un signal en dents de scie. • Modifiez les valeurs du paramètre Glide. Chapitre 5 ES2 121 Mieux vaut effectuer des modifications lorsqu’une ligne de basse est en cours de lecture. Créez ou jouez une ligne de basse monophonique, en jouant la plupart des notes en staccato et certaines en legato. Vous pouvez obtenir des résultats très intéressants avec des glissés très longs. Création de basses analogiques distordues avec l’ES2 Avec le réglage Analog Bass Distorted, le filtre 1 est engagé avec des réglages élevés pour les paramètres Drive et Distortion. Ce filtre convient mieux à la création de sons analogiques distordus que le second filtre. • Essayez le filtre 2 en plaçant le curseur Filter Blend tout à fait à droite. Vous constaterez que le filtre 1 est mieux adapté aux sons distordus. • Pour contrôler la modulation du filtre, déplacez les curseurs verts du premier canal de modulation dans le routeur. Ce canal contrôle l’intensité de la modulation. Utilisation des paramètres FM Intensity et Frequency pour créer des sons dans l’ES2 Le réglage FM Start permet de vous habituer à la synthèse de modulation de fréquence (FM) linéaire. Vous entendez un son sinusoïdal non modulé, généré par l’oscillateur 1. L’oscillateur 2 est activé et défini pour produire également une oscillation sinusoïdale, mais son niveau est défini sur 0 : faites glisser le petit carré situé dans l’angle le plus haut du triangle pour modifier les réglages. Dansl’ES2, l’oscillateur 1 est toujoursle porteur et l’oscillateur 2 le modulateur. En d’autres termes, l’oscillateur 2 module l’oscillateur 1. • Réglez l’intensité de la fréquence de modulation en déplaçant doucement le sélecteur de forme d’onde de Sine vers FM. Vous entendez alors un spectre FM typique, avec le porteur et le modulateur sur une même fréquence. • Modifiez alorsla fréquence du modulateur (oscillateur 2) en faisant passer le paramètre Fine Tune de 0 c à 50 c. Il en résulte une modulation de fréquence trèslente, comparable à l’effet d’un LFO. Toutefois, cette modulation se produit au sein du spectre audio. Elle est réglable par pas d’un demi-ton via le sélecteur de fréquence. Vérifiez la plage entière de - 36 s à + 36 s pour l’oscillateur 2. Vous entendez un large spectre de sons FM. Il est possible que certainsréglages vous évoquent certainssons classiques de synthétiseurs FM. • Sélectionnez d’autres formes d’onde pour l’oscillateur 2. La forme sinusoïdale est la forme classique etstandard en FM, mais d’autresformes d’onde procurent desrésultats intéressants, notamment les Digiwaves. • Il est possible de générer d’autres sons remarquables en modifiant la fréquence du porteur (oscillateur 1). Vérifiez également ici la plage entière, de - 36 s à + 36 s. Les intervalles impairs sont particulièrement étonnants. Notez que la hauteur tonale de base est alors modifiée. 122 Chapitre 5 ES2 Contrôle de l’intensité FM de l’ES2 par une enveloppe et une mise à l’échelle FM Dans le réglage FM Envelope, vous pouvez contrôler l’intensité FM avec une enveloppe, générée par l’enveloppe 2. La cible de modulation est la plage qui s’étend entre Sine et FM dansle sélecteur d’ondes de l’oscillateur. Pour ce routage de modulation, vous utilisez le premier canal de routeur. Vous pouvez contrôler une plage d’intensité plus étendue en utilisant des routages de modulation supplémentaires prédéfinis. Pour ce faire, vous devez simplement attribuer des valeurs à ces modulations. Comme elles ne sont pas sensibles à la vélocité, vous pouvez les définir dans la présentation Editor, en déplaçant à la fois les sections inférieures et supérieures des curseurs vers leurs valeurs maximum. • Réglez le second canal de modulation sur 1,0. Vous pouvez entendre la modulation évoluée sur une plage sonore plus vaste. • Réglez également les canaux de modulation 3 et 4 sur 1,0, puis écoutez l’élargissement de plage sonore. • Suite à ces fortes augmentations de la plage de modulation, le son est inégalement réparti sur le clavier. Au niveau des notes graves et médiums, le son est agréable, mais dans les aigus, l’intensité FM est trop prononcée. Vous pouvez compenser cet effet en modulant la cible Wave de l’oscillateur 1 par la position du clavier (kybd) pour les routages de modulation 5 et 6. Cela entraîne une mise à l’échelle clavier de l’intensité FM. • La plage sonore obtenue est tellement vaste (en raison des 4 modulations) qu’il est nécessaire d’utiliser deux routages de modulation. Abaissez au maximum les deux sections de curseur inférieures. Une bonne mise à l’échelle au clavier est essentielle à tout son FM. Utilisation des paramètres FM Drive et Filter FM pour modifier la couleur des sons de l’ES2 Le réglage FMDrive illustre comment vous pouvez modifier considérablement le caractère des sons FM lorsque vous appliquez les paramètres Drive et Filter FM. Les sons ainsi produits rappellent ceux des circuits à réinjection (feedback) des synthétiseurs FM classiques. • Testez différents réglages pour Drive et Filter FM. • Ramenez le paramètre Cutoff Frequency du filtre 2 à 0. L’enveloppe 2 module le filtre 2. Ce routage de modulation est déjà présent dans le réglage. Création de sons FM avec des Digiwaves dans l’ES2 Dansle réglage FMDigiwave, une Digiwave sert de modulateur FM. Il en résulte un spectre sonore évoquant un son de cloche par deux opérateurs seulement. En général, avec une synthèse FM traditionnelle, ce type de timbre est normalement obtenu avec davantage d’oscillateurs sinusoïdaux. Chapitre 5 ES2 123 Pour créer un son plus épais, évocateur et ondulant, le mode Unison polyphonique est activé. Les enveloppes de filtre et d’amplitude ont été préréglées pour définir la forme du son. • Testez les nombreuses Digiwaves en tant que sources de modulation FM. • Utilisez différentes valeurs pour le paramètre Analog. Création de sons FM avec des tables d’ondes dans l’ES2 Vous pouvez programmer des sons FM particulièrement colorés par métamorphose de la source de modulation entre les différentes Digiwaves. Le morphing dans le réglage FM Digiwave est contrôlé par le LFO 2. Le tempo du LFO 2 et, par conséquent le morphing, dépend du tempo de l’application hôte, ici, 2 mesures. • Définissez différentesformes d’onde pour le LFO2. La valeur Lag S/H (lissage aléatoire), notamment, donne souvent des résultats amusants. • Essayez diverses intensités FM et fréquences d’oscillateur. • Modifiez l’intensité de la modulation du premier canal de modulation (LFO2 modulant Osc2 Wave) et la fréquence du LFO 2. Création de sons FM distordus dans l’ES2 en mode Unison monophonique Le réglage FM Megafat convient parfaitement aux sons de basse ou de guitare distordus. Ce son devient assez « rude » dans les aigus. Or, il est impossible de contrebalancer cela par une mise à l’échelle des notes. Cependant, on ne cherche pasforcément à ne produire que des sons « agréables » sur tout le clavier. • Essayez des désaccords extrêmes en modifiant le paramètre Analog. • Testez ce son avec l’effet Flanger. • Activez l’enveloppe de filtre en abaissant à 0 la fréquence de coupure du second filtre. • Ajoutez un effet Glide aux sons lead. • Comme toujours lorsqu’il s’agit de FM, vous pouvez modifier considérablement le son en faisant varier les fréquences des oscillateurs. N’oubliez pas de tester également les intervalles impairs. Création de sons FM avec des spectres inhabituels dans l’ES2 Si la hauteur tonale n’a aucune importance, vous pouvez obtenir le spectre le plus étrange qui soit grâce à des rapports de fréquences impairs (intervalles d’oscillateur). Le réglage FM Out of Tune offre un son semblable à celui d’une cloche, évoquant un modulateur en anneau. Il est obtenu avec les valeurs suivantes : 30 s 0 c, le modulateur étant sur 0 s 0 c. Dans les années 80, les sons de ce type étaient très populaires. Ils connaissent désormais un regain d’intérêt grâce aux styles modernestels que la musique d’ambiance et la trance. 124 Chapitre 5 ES2 Vous pouvez développer davantage ce son en appliquant des modulations de filtre et d’enveloppe, ainsi que des effets. Il n’en reste pas moins, qu’hélas, il est désaccordé. • Utilisez l’oscillateur 3 comme référence pour accorder le son FM, en faisant glisser l’icône carrée dans le triangle. • Vous constatez que le son est trop haut de 5 demi-tons (ou, à l’inverse, trop bas de 7 demi-tons). • Transposez les oscillateurs 1 et 2 cinq demi-tons en dessous(500 c). Il n’est pas pratique d’effectuer une transposition vers le haut. En effet, dans ce cas vous devez sélectionner 37 s 0 c pour l’oscillateur 1, alors que sa valeur maximale est 36 s 0 c. • Il est important de maintenir le rapport de fréquence (intervalle) entre les oscillateurs 1 et 2. Cela signifie que l’oscillateur 1 produit des sons à 25 s 0 c et l’oscillateur 2 à - 5 s 0 c. Réglage des modulations d’impulsions en durée avec l’oscillateur 2 dans l’ES2 La modulation d’impulsions en durée (MID) est l’une des fonctions essentielles de tout synthétiseur analogique. • Choisissez le réglage PWMStart etsélectionnez tour à tour l’onde de forme rectangulaire et celle pulsée dans la section Wave. Les deux symboles correspondants sont verts. Vous entendez alors une modulation manuelle de la largeur d’impulsions. • Choisissez le réglage PWM Slow. À présent la source de la modulation de la largeur d’impulsion est contrôlée par le LFO 1 et non manuellement. Le résultat doit être sensiblement identique. • Augmentez la fréquence du LFO 1 en le faisant passer de 0,230 (sa valeur prédéfinie) à 4,400. Le résultat est une PWM rapide et classique. • Dans ce réglage et le suivant, la MID doit être définie de sorte qu’elle paraisse pluslente dans le bas du clavier et plus rapide dans la partie haute. Cela est souhaitable pour de nombreux sons, comme les sons de cordes synthétiques. Réduisez tout d’abord la fréquence du LFO 1 à 3,800. • Changez ensuite l’intensité de la modulation du second canal de routeur (Target = LFO1 Rate, Source = Kybd) en lui affectant une valeur de 0,46. La mise à l’échelle de la PWM est ainsi modifiée et le son semble plus rapide dans les aigus. Ce type d’effet est également utilisé dans le réglage PWM Scaled. Astuce : Évitez d’utiliser les paramètres Drive et Distortion avec les sons PWM. Chapitre 5 ES2 125 Création de sons de cordes dans l’ES2 avec la modulation d’impulsions en durée Pour générer un son plus épais, ajoutez l’oscillateur 3, lequel peut également subir une modulation d’impulsions en durée. En fait, même le premier oscillateur peut fournir une PWM. Dans le réglage PWM 2 Osc, les deux oscillateurs sont désaccordés de manière plutôt significative. Développez votre propre son de cordes PWM en utilisant ce réglage comme base de départ. • Ajustez l’intensité du cœur (Chorus). Vous affecterez probablement des valeurs plus élevées pour conférer davantage de largeur au son. • Programmez le générateur Env 3 à votre guise. Vous devez, au moins, augmenter ses temps d’attaque et de libération. Vous pouvez aussi le paramétrer en fonction de la vélocité, si vous préférez. Si vous n’avez pas l’intention d’utiliser ce son uniquement comme simple nappe, il peut être indiqué de définir un Temps de chute plus court et un Temps de maintien de seulement 80 à 90 pour cent. • Diminuez la fréquence de coupure et la résonance du premier filtre afin d’adoucir le son. • Enregistrez ce nouveau réglage. • Comparez le son obtenu avec celui du réglage PWM 2 Osc d’origine. Vous pouvez constater que le son a considérablement évolué. • Comparez-le également au réglage PWM Soft Strings, qui a été créé tel que décrit ci-dessus. Des ressemblances notables peuvent être observées. Création de sons avec la modulation en anneau dans l’ES2 Un modulateur en anneau comprend deux signaux en entrée et produit, en sortie, leur somme et leur rapport de fréquences. Dans l’ES2, la sortie de l’oscillateur 2 peut permettre la modulation en anneau. Elle peut être alimentée, d’une part, par une onde carrée produite par l’oscillateur 2 et, d’autre part, par l’onde de l’oscillateur 1, lorsque la forme d’onde sélectionnée pour l’oscillateur 2 est Ring. Les intervalles (rapports de fréquences) impairs entre les oscillateurs créent des spectres de type son de cloche, qui rappellent ceux du réglage Ringmod Start. Le troisième oscillateur peut être utilisé comme référence d’accord, pour conserver une sorte d’accord de base. Il est possible que vous trouviez parfois qu’un son désaccordé est utile, notamment comme source d’inharmoniques et d’harmoniques pour une autre onde élémentaire, fournie par le troisième oscillateur. 126 Chapitre 5 ES2 Essayez de programmer un son de cloches atmosphérique. Ayez recours à votre imagination, mais voici entre autres quelques conseils pouvant vous être utiles : • Testez les différents rapports de fréquences des oscillateurs 1 et 2. Vous envisagez peut-être d’utiliser le rapport 29 s 0 c/21 s 0 c, qui ne semble pas désaccordé du tout. La modulation en anneau ne sert pas uniquement aux sons de type cloche, elle permet également d’obtenir une grande diversité de spectres qui peuvent paraître étonnants à basses fréquences. Essayez aussi de modifier le réglage fin des oscillateurs. • Pour l’effet Chorus, essayez une intensité de 50 pour cent et une valeur Rate équivalente à 2/3 environ de la valeur maximum. • Réglez à votre guise les temps d’attaque et de libération du générateur Env 3. • Utilisez les paramètre Drive et Filter FM, si vous aimez les sons un peu « débridés ». • Pour le reste, à vous de jouer ! Création de sons avec la synchronisation des oscillateurs dans l’ES2 Si vous sélectionnez les formes d’onde carrée et en dents de scie synchronisées pour les oscillateurs 2 et 3, ceux-ci sont alors synchronisés avec l’oscillateur 1. Dans le réglage Sync Start, seul l’oscillateur 2 est audible et l’oscillateur 3 est désactivé. Les sons synchronisés typiques présentent des balayages de fréquences dynamiques sur de larges plages. Ces modulations de fréquence (ou balayages) peuvent être utilisées de différentes manières. • Essayez tout d’abord la modulation de la hauteur tonale préprogrammée, affectée à la roulette de modulation. • Dans le deuxième canal du routeur, une modulation de la hauteur tonale d’enveloppe a été préprogrammée (cible = Pitch 2, source = Env 1). En définissant 1,0 comme valeur minimum, on obtient une enveloppe synchronisée typique. Essayez également des temps de chute plus courts pour le générateur Env 1. • Pour éviter l’aspect stérile et sans vie (une fois la phase de chute de l’enveloppe terminée), vous pouvez également moduler la fréquence de l’oscillateur avec un LFO. Utilisez le troisième canal du routeur et définissez la modulation minimum appliquée par le LFO 1 sur 0,50 environ. • Remplacez l’onde carrée avec synchronisation par l’onde en dent de scie avec synchronisation, observez le résultat et voyez si celui-ci vous convient. Remarque : la modulation d’impulsions en durée est également disponible par le biais de l’onde carrée synchronisée des oscillateurs 2 et 3. Une modulation des paramètres Wave de ces deux oscillateurs entraîne une MID lorsque l’onde carrée synchronisée est sélectionnée. Chapitre 5 ES2 127 Premiers pas avec la synthèse vectorielle dans l’ES2 Ce guide d’initiation fournit des conseils utiles pour la programmation des enveloppes Vector. Dans le réglage Vector Start, le mixage des sons issus des oscillateurs est contrôlé par l’enveloppe Vector. Chaque oscillateur a été défini avec une forme d’onde différente. • Passez de la présentation Router à la présentation Vector. • Le réglage élémentaire (par défaut) de l’enveloppe vectorielle consiste en 3 points d’enveloppe, le premier étant le point de départ, le deuxième, le point Sustain et le troisième, la cible de la phase de libération. En cliquant sur ces points, vous pouvez voir, dans le triangle, que le mixage est à chaque fois défini sur 100 pour cent pour l’oscillateur 1. • Cliquez sur le point 2 et faites glisser l’icône carrée dans le triangle vers l’oscillateur 2. Vous entendez alors une onde carrée, et non l’onde en dents de scie de l’oscillateur 1. • Lancez l’enveloppe vectorielle en désactivant le paramètre Solo Point. Tant que ce paramètre est activé, vous entendez uniquement le pointsélectionné,sans modulation dynamique. Une fois qu’il est désactivé, vous entendez le son osciller entre dents de scie et carrés, à chaque déclenchement de note. • Modifiez la durée préréglée de 498 ms, entre les points 1 et 2. • Tout en maintenant la touche Maj enfoncée, cliquez entre les points 1 et 2. Vous créez ainsi un nouveau point 2 et le point précédemment décrit comme le point 2 devient le point 3. Le tempstotal écoulé entre le point 1 et le point 3 est réparti entre les durées écoulées entre les points 1 et 2 et les points 2 et 3. La répartition prend effet à l’emplacement du clic. Si vous cliquez exactement à mi-chemin, les deux nouvelles sections ont des durées égales. • Cliquez sur le point 2 nouvellement créé, puisfaites glisser l’icône carrée correspondante dans le triangle vers l’oscillateur 2. • Cliquez sur le point 3 et faites glisser l’icône carrée correspondante dans le triangle vers l’oscillateur 3. Écoutez le morphing des trois oscillateurs de l’onde en dents de scie, puis carrée, puis triangulaire, au niveau du point Sustain final. • Cliquez sur le point 4 (le point final) et faites glisser l’icône carrée correspondante dans le triangle versl’oscillateur 1,si ce n’est pas déjà le cas. Une foisla touche jouée relâchée, vous pouvez entendre le son revenir vers la forme d’onde en dents de scie de l’oscillateur 1. Utilisation du pavé planaire pour la synthèse vectorielle dans l’ES2 Le réglage Vector Envelope débute à l’endroit où le réglage Vector Start est désactivé. Vous disposez donc d’une simple enveloppe vectorielle comprenant 4 points, définie pour moduler le mixage des sons issus des oscillateurs (le triangle). 128 Chapitre 5 ES2 Dans cet exemple, l’enveloppe Vector est utilisée pour contrôler deux paramètres supplémentaires : Cutoff Frequency (filtre 2) et Panorama. Ces deux paramètres sont prédéfinis comme cibles X et Y dans le pavé planaire. La valeur 0,50 leur est affectée à chacun. • Activez le paramètre Solo Point pour entendre plus facilement les réglages de chaque point. • Cliquez sur le point 1. Vous entendez uniquement l’onde en dents de scie de l’oscillateur 1. • Faites glisser l’icône carrée dans le pavé planaire complètement à gauche ; vous définissez ainsi une faible fréquence de coupure pour l’oscillateur 2. • Cliquez sur le point 2. Vous entendez uniquement l’onde rectangulaire de l’oscillateur 2. • Faites glisser l’icône carrée dans le pavé planaire complètement vers le bas ; vous définissez ainsi une position panoramique totalement à droite. • Cliquez sur le point 3. Vous entendez uniquement l’onde triangulaire de l’oscillateur 3. • Faites glisser l’icône carrée dans le pavé planaire complètement vers le haut ; vous définissez ainsi une position panoramique totalement à gauche. • Activez Solo Point. Au départ, le son a une forme d’onde en dents de scie, avec un filtrage très marqué, puis il prend une forme carrée non filtrée. Il vient alors de la droite, puis va vers la gauche à mesure du morphing vers une onde triangulaire. Une fois la note relâchée, un son en dents de scie est perçu. Utilisation des boucles de synthèse vectorielle dans l’ES2 Le son de base du réglage Vector Loop, sans l’enveloppe Vector, est composé de trois éléments : • L’oscillateur 1 génère un spectre FM de caractère métallique, modulé par la table d’ondes de l’oscillateur 2. • L’oscillateur 2 produit des DigiWaves avec fondu enchaîné (soit, une table d’ondes), modulées par le LFO 2. • L’oscillateur 3 joue un son PWM bien équilibré,selon la vitesse du LFO 1 et mis à l’échelle au clavier. L’utilisation des modes Unison et Analog confère corps et largeur au son. Ces couleurssonores plutôt hétérogènesservent de sourcessonores à la boucle vectorielle. Chapitre 5 ES2 129 Une boucle de lecture en avant lente est prédéfinie. Elle passe de l’oscillateur 3 (son MID, point 1) à l’oscillateur 1 (son FM, point 2), puis de nouveau à l’oscillateur 3 (MID, point 3) et à l’oscillateur 2 (table d’ondes, point 4). Finalement, elle revient à l’oscillateur 3 (MID, point 5). Les points 1 et 5 sont identiques, ce qui empêche toute transition du point 5 vers le point 1, dans la boucle en avant. Il est possible d’adoucir ce genre de transition à l’aide du paramètre Loop Smooth. Toutefois, cela complexifie la programmation des éléments rythmiques. Les distances entre les différents points de l’enveloppe vectorielle ont été définies pour une rythmique exacte. Avec le paramètre Loop Rate activé, les valeurs temporelles ne sont pas exprimées en ms, mais en pourcentages. On compte quatre valeurs temporelles (chacune de 25 pour cent), ce qui facilite la conversion en valeurs de notes. • Pour désactiver l’enveloppe vectorielle, il suffit d’activer la fonction Solo Point. Elle permet d’écouter un à un les différents points. • Profitez-en pour déplacer l’icône carrée dans le pavé planaire selon vos goûts. Les axes X/Y du pavé planaire contrôlent la fréquence de coupure du second filtre et la position panoramique. Vous pouvez ajuster ces paramètres pour rendre le son plus vivant. • Pour activer l’enveloppe vectorielle, désactivez la fonction Solo Point. Écoutez le résultat obtenu et affinez le positionnement de l’icône carrée dans le pavé planaire. • Changez la valeur Loop Rate en la passant de 0,09 (valeur prédéfinie) à 2,00. Vous observez alors une modulation périodique, proche de celle d’un LFO. À ce stade, la modulation n’est pas synchronisée au tempo du projet. Pour synchroniser la lecture de la boucle avec le tempo du projet, placez le curseur Rate complètement à gauche et entrez une valeur de note ou un nombre de mesure. • Vous pouvez créer des valeurs de notes avec un rythme plus rapide en cliquant entre deux points, puis en affectant une valeur de 12,5 pour cent, par exemple, aux nouvelles valeurs temporelles, créées suite à la division en nouvelles sections. Création de sons de grosse caisse de l’ES2 avec un filtre auto-oscillant et l’enveloppe Vector Les sons de grosse caisse électroniques sont souvent créés en modulant des filtres auto-oscillants. L’ES2 permet de recourir à cette technique, notamment si vous utilisez l’enveloppe vectorielle comme source de modulation du filtre. Par rapport aux générateurs d’enveloppe de type ADSR conventionnels, l’enveloppe Vector présente l’avantage de pouvoir définir et fournir deux phases de chute indépendantes. L’effet de distorsion permet d’appliquer le « drive » approprié, sans pour autant perdre le caractère sonore original du son de batterie. Remarque : pour rendre le réglage Vector Kick vraiment dynamique, vous devez activer l’option Flt Reset, car tous les oscillateurs sont désactivés dans ce réglage et le filtre a besoin d’un peu de temps pour commencer à osciller. Au début de chaque note, Flt Reset envoie une impulsion très courte vers le filtre, de façon à ce qu’il oscille tout de suite. 130 Chapitre 5 ES2 En ajustant le réglage Vector Kick, vous pouvez créer touslessons de grosse caisse possibles pour enthousiasmer les pistes de danse. Voici les paramètres à privilégier pour essayer des variantes efficaces et significatives : • Filter 2 slopes : 12 dB, 18 dB et 24 dB • Distortion : Intensity et Soft ou Hard • Envelope 3’s Decay Time : (D) • Vector Envelope Time 1 > 2 : prédéfini sur 9,0 ms • Vector Envelope Time 2 > 3 : prédéfini sur 303 ms • Mise à l’échelle de la durée vectorielle Création de sons graves et synthétiques percussifs de l’ES2 avec deux phases de chute de filtre Comme le réglage Vector Kick, le réglage Vector Perc Synth utilise l’enveloppe Vector pour contrôler la fréquence de coupure du filtre, avec deux phases de chute pouvant être ajustées séparément. Cela est impossible à réaliser avec un générateur d’enveloppe de type ADSR conventionnel. Essayez de créer d’autres sons percussifs de synthétiseur et de basses en jouant sur les paramètres suivants : • Enveloppe Vector : durée 1 > 2 (= Decay 1) • Enveloppe Vector : durée 2 > 3 (= Decay 2) • Mise à l’échelle de la durée vectorielle • Icônes carrées du pavé planaire pour les points 1, 2 et 3 (= Cutoff Frequency), • Formes d’onde (sélection d’autres formes d’onde) Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons Voici une brève présentation de la programmation avec l’ES2. Lors de la programmation des sons prédéfinis fournis avec l’ES2, un certain nombre de testeurs, de programmeurs et d’autres personnes impliquées dans ce projet ont émis le souhait de disposer de modèles pour leur travail de programmation, au lieu de partir de zéro. Ce souhait a entraîné un certain nombre de modèles d’initiation, ajoutés au menu Settings de la fenêtre ES2 (ouvrez le menu Settings et sélectionnez Tutorial Settings pour afficher ces modèles). Inutile de préciser que la création de modèles englobant tous les genres est impossible. Lorsque vous serez familiarisé avec l’architecture de l’ES2, vous comprendrez mieux pourquoi… Chapitre 5 ES2 131 Nous avons toutefois inclus ce petit guide de la programmation avec l’ES2 dans la barre d’outils, pour vous aider à connaître l’architecture de l’ES2 par la pratique. L’approche choisie est amusante. De plus, par le biais de quelques opérations simples, vous allez découvrir qu’il est possible d’obtenir desrésultatsrapidement lorsque vous commencerez à créer votre bibliothèque personnelle de sons. Une fois familiarisé avec l’ES2, l’utilité de tous ces paramètres et fonctions vous paraîtra plus claire et vous pourrez créer vos propres modèles. Ils vous serviront de points de départ pour la conception de nouveaux sons. Utilisation du réglage Slapped StratENV de l’ES2 Le but de ce réglage consiste à s’approcher au maximum du son d’une guitare électrique Stratocaster, avec le sélecteur (switch) entre chevalet et micro central en position médiane (en phase). Celui-ci tente de reproduire les caractéristiques sonores typiques de ce grattement de cordes criard. Ce modèle peut être une bonne base de travail pour émuler des sons proches de ceux produits par des instruments frettés, des clavecins ou des clavinets, notamment. Commençons par décrire sa structure : Les oscillateurs 1 et 3 fournissent la combinaison de formes d’onde de base, dans le champ Digiwave. La modification des Digiwaves des deux oscillateurs en combinaison offre de nombreuses variations basiques, dont certaines conviennent également bien aux sons de type piano électrique. L’oscillateur 2 ajoute des harmoniques, grâce à sa forme d’onde synchronisée. Par conséquent, faites varier uniquement sa tonalité ou sa forme d’onde. Diverses valeurs peuvent être modifiées afin d’obtenir un son plus équilibré et plus virulent. Une méthode éprouvée a permis d’obtenir une attaque vigoureuse qu’une onde nue ne pourrait apporter, même avec les filtres les meilleurs et les plus rapides disponibles: vous utilisez une enveloppe (Env1 dans ce cas) pour une « poussée » rapide de la fenêtre de table d’ondes (ou de toutes les tables d’ondes, le cas échéant). Il faut ensuite configurer le temps de chute de l’enveloppe 1 en fonction de cette courte poussée. Pour ce faire, déplacez les sélecteurs de formes d’onde de tous les oscillateurs (bien que ce type d’action n’ait aucun sens sur un oscillateur synchronisé en dents de scie, à savoir l’oscillateur 2, utilisez quand même cette astuce de l’enveloppe). Vous pouvez faire varier la vivacité du contenu avec les éléments suivants : • La contribution de l’enveloppe 1 au bruit d’attaque global, selon la vitesse de chute : une chute lente engendre une crête, tandis qu’une chute longue produit un grondement, puisque plusieurs ondes de la table sont alors lues par l’enveloppe 1. 132 Chapitre 5 ES2 • La destination de la modulation : vous pouvez toujours l’assigner à chacun des oscillateurs séparément. • Le point de départ: vousfaites varier le début de la fenêtre de l’onde avec la commande minimum/maximum régissant la modulation EG1/Osc.waves ; des valeurs négatives permettent d’avoir une onde de départ avant l’onde sélectionnée, des valeurs positives permettent de commencer la lecture aprèsl’onde sélectionnée et de remonter la table. N’hésitez pas à tester cette astuce relative à la table d’ondes. L’effet de grondement fonctionne bien pour les sons de cuivres et certains sons d’orgues se révèlent complètement en leur ajoutant un petit clic, obtenu en poussant la table d’ondes. Le générateur Env 2, qui contrôle le filtre, génère une légère attaque, utilisée pour l’aspect « frappé » (slap). En le réglant sur sa valeur la plus rapide, vous éliminez l’attaque de type wah wah, tout en conservant la vivacité. Au niveau du jeu, le LFO 2 est utilisé comme source de vibrato en temps réel. La roulette de modulation et la force du jeu (pression) lui sont assignées. N’accordez pastrop d’attention aux différentsréglages de roulette et de pression. N’hésitez pas à les modifier. Le paramètre Velocity est configuré de façon à être très réactif : en effet, de nombreux joueurs de synthétiseur n’appuient pas sur les touches à la manière d’un pianiste habitué aux touches « lourdes ». C’est pourquoi nous vousrecommandons de jouer cette sonorité assez doucement, sous peine d’entendre l’aspect frappé glisser légèrement. À défaut, vous pouvez ajuster la sensibilité à la vélocité pour la modulation du filtre afin qu’elle corresponde à votre jeu. N’hésitez pas à entrer une valeur maximale pour le paramètre Voices ; six cordes sont suffisantes pour des sons de guitare, toutefois, pour les notes tenues ou suspendues, quelques voix supplémentaires peuvent être utiles. Utilisation du réglage Wheelrocker de l’ES2 Ce patch d’orgue assez ordinaire n’est pas porteur d’un quelconque secret de conception profond et efficace : il représente juste l’association de trois oscillateurs avec des niveaux d’ondes mixés. Vous découvrirez vraisemblablement une combinaison différente, qui correspond davantage à l’idée que vous vousfaites d’un son d’orgue. Testez les Digiwaves. Fixez votre attention sur la réponse de la roulette de modulation : maintenez une corde et actionnez la roulette en la déplaçant lentement versle haut, jusqu’à atteindre le niveau maximum. La programmation de cette modulation par roulette vise à simuler une enceinte rotative Leslie accélérée. Chapitre 5 ES2 133 Les routages de la modulation permettent d’assurer les tâches suivantes : • Le routage de modulation 1 assigne l’enveloppe 2 au filtre 1 (le seul utilisé dans ce patch) et produit, avec l’enveloppe, un léger clic de touche d’orgue. Le filtre est légèrement ouvert (avec Keyboard comme paramètre via) pour les aigus, avec la valeur maximale. • Les routages de modulation 2 et 3 gèrent le vibrato du LFO 1 et les deux oscillateurs sont modulés hors phase. • Le routage de modulation 4 n’a pas besoin d’être réglé, mais vous êtes libre de le faire. Il a été configuré pour utiliser ENV1 afin de « pousser » la table d’ondes. Réglez le paramètre ENV1 Decay pour créer dessons plus proches destuyaux d’un orgue. Réglez le paramètre ENV1 Attack pour naviguer dans la table d’ondes. • Le routage de modulation 5 réduit le volume général ; le niveau de sortie d’un orgue ne doit pas augmenter de façon trop prononcée lorsque toutes les modulations sont au maximum. • Les routages de modulation 6 et 7 désaccordent les oscillateurs 2 et 3 l’un par rapport à l’autre, avec des valeurs symétriques. Cela permet d’éviter des désaccords globaux trop importants. Là encore, tous deux travaillent hors phase avec les routages de modulation 2 et 3 ; l’oscillateur 1 conserve une hauteur tonale stable. • Le routage de modulation 8 utilise le LFO1 comme modulateur pour les déplacements à l’intérieur de l’image stéréo (panorama) ; en effet, ce patch passe de mono à stéréo. Si vous préférez un vrai son stéréo, avec un effet Leslie lent au repos, entrez la valeur minimale de l’ampleur désirée. Vous obtenez ainsi une rotation lente et continue. Vous pouvez, éventuellement, essayer une valeur plus élevée, permettant d’atteindre une séparation des canaux plus marquée. • Le routage de modulation 9 accélère la fréquence de modulation du LFO 2. • Pour le routage de modulation 10, une faible valeur Cutoff a été ajoutée au premier filtre, ce qui permet d’augmenter l’intensité du grand tournoiement. N’hésitez pas à définir vos propres valeurs. Dès lors, n’oubliez pas que deux paires de modulation doivent être modifiées de manière symétrique : les routages de modulation 2 et 3 fonctionnent en paire, tout comme les routages de modulation 6 et 7. Autrement dit, si vous abaissez la valeur Pitch 2 à une valeur négative, pensez à augmenter d’autant la valeur de Pitch 3 (en affectant une valeur positive). La même règle s’applique à la paire de routages de modulation 6 et 7. Vous pouvez également introduire le LFO2 pour accroître la diffusion de la tonalité, contre les mouvements panoramiques et la tonalité du LFO 1. Échangez-le simplement contre le LFO 1 dans les modulations 2 et 3. Notez que l’accélération Leslie n’aura aucune source de modulation ; vous devrez donc l’utiliser de manière statique,seulement avec un fondu entrant. À défaut, vous devrez sacrifier l’une des autres modulations au profit d’un second effet tournant. 134 Chapitre 5 ES2 Pour une autre modification stéréo du son statique, vous pouvez utiliser le mode Unison, avec un léger désaccord. Pour ce faire, assurez-vous de régler le paramètre Analog. Utilisation du réglage Crescendo Brass de l’ES2 Les oscillateurs permettent d’effectuer les tâches suivantes : • L’oscillateur 1 fournit l’onde de base pour les sons de cuivres ; elle est en forme de dents de scie. • L’oscillateur 2 fournit une forme d’onde de type « impulsion », un peu plus éloignée du son d’un cuivre. Elle contribue à l’effet d’ensemble. Sa durée d’impulsion est modulée par le LFO 1 (routage de modulation 4). Remarque : le point majeur suivant doit être pris en compte lors de tout type de modulation. Quatre paramètres changent totalement de comportement si l’un d’eux est modifié. Par conséquent, il faut agir sur les quatre lorsque vous procédez à des modifications : • Vous pouvez modifier la largeur d’impulsion initiale en jouant sur le paramètre Wave de l’oscillateur 2. Une position de son « épais » (fat), proche de l’onde carrée idéale, a été choisie pour cette tonalité afin de programmer un son complet alliant des effets de cuivres et de synthétiseur. • Le routage de modulation 4 règle l’intensité de la modulation, à savoir la différence de plage entre les réglages épais et étroit, en cas de modulation d’impulsions en durée. Définissez-la avec le paramètre Minimum. • La fréquence du LFO1 contrôle directement la vitesse du mouvement pour la modulation de la largeur d’impulsion. Avec ce réglage, les deux LFO sont utilisés pour obtenir un effet de diffusion plus marqué à diverses vitesses de modulation. Astuce : vous devez utiliser le LFO1 pour l’ensemble des modulations automatiques et permanentes, car vous pouvez retarder son impact à l’aide du paramètre EG. Le LFO 2 peut servir à toutes les modulations en temps réel. Celles-ci sont accessibles via la roulette de modulation, la pression ou d’autres contrôles pendant que vous jouez. • Une assignation de clavier a été définie en tant que source du routage de modulation 4. Cela est dû au fait que les modulations par tonalité, ou par largeur d’impulsion, ont tendance à provoquer un déréglage plus important dans les graves, alors que l’effet de diffusion souhaité est obtenu pour les notes du milieu et les aigus. Lorsque vous utilisez le clavier, il faut d’abord régler les paramètres pour la région des graves, jusqu’à atteindre un effet de désaccord (résultant de la modulation) acceptable. Ensuite, vérifiez que les modulations dansles aigussont égalementsatisfaisantes. Modifiez lesrelations entre les valeurs d’intensité (Max) et de mise à l’échelle (Min). Chapitre 5 ES2 135 L’oscillateur 3 génère une Digiwave suffisamment proche d’un son de cuivre lorsqu’elle est incluse dans le mixage global. À la place d’une Digiwave, il est possible d’utiliser une autre onde pulsée modulée pour prendre en charge l’ensemble ou une onde en dents de scie pour obtenir un son « plus épais ». Pour ce faire, il faut la désaccorder par rapport à l’onde en dents de scie de l’oscillateur 1. Toutefois, le but principal vise à afficher un peu de « grondement », obtenu par le biais d’une brève poussée de la table d’ondes, telle que décrite à la rubrique Utilisation du réglage Slapped StratENV de l’ES2. Cette configuration est appliquée au routage de modulation 3 (paramètre Wave de l’oscillateur 3 déplacé par le paramètre Decay de l’enveloppe 1). D’autres contrôles disposent de nombreuses fonctions : • L’enveloppe 1 influe également sur la hauteur tonale de l’oscillateur 2 par rapport à l’oscillateur 3. Cela entraîne l’affrontement des deux hauteurs tonales, ainsi qu’avec la hauteur tonale stable de l’oscillateur 1 en phase d’attaque du son. • La conception de l’enveloppe du filtre provoque une fermeture avec un court accident lors de la phase d’attaque, puisle filtre s’ouvre de nouveau pour une phase de crescendo plus lente. • Un autre crescendo en temps réel a été assigné à la roulette de modulation. Cela provoque également une modulation de la tonalité globale, contrôlée par le LFO 2. • Enfin, nous avons programmé une modulation en temps réel « contraire » par pression, qui ferme les filtres. Vous pouvez ainsi jouer avec un decrescendo supplémentaire, commandé par la force du jeu. Essayez de sentir les réactions au niveau de la sonorité. Vous découvrirez qu’elle propose certains contrôles d’expression, comme la vélocité, la pression après activation de la note et la pression anticipée. Écoutez ce qui se passe lorsque vous appuyez sur les touches avec la main gauche avant de plaquer un nouvel accord de la main droite, en laissant le crescendo entrer. Utilisation du réglage MW-Pad-Creator de l’ES2 Il s’agit de créer un patch capable de générer automatiquement de nouveaux patchs. Là encore, l’oscillateur 2 permet la modulation d’impulsions en durée, qui crée un puissant composant d’ensemble (pour en savoir plus, consultez la rubrique Utilisation du réglage Crescendo Brass de l’ES2). Les oscillateurs 1 et 3 servent à la combinaison initiale des formes d’onde, avec leurs tables Digiwave respectives. Vous pouvez,si vousle souhaitez, les modifier et commencer d’emblée avec une autre combinaison de Digiwaves. 136 Chapitre 5 ES2 La modulation 3 « contrôle » les tables d’onde des trois oscillateurs, via la roulette de modulation. En termessimples, vous pouvez faire défilersimultanément lestables d’ondes des oscillateurs 1 et 3, et modifier la durée d’impulsions de l’oscillateur 2 en agissant sur la roulette de modulation. Essayez de bouger, prudemment et très lentement, la roulette de modulation ; vous entendez alors des modifications assez marquées dansla configuration desformes d’onde. À chaque incrément de la roulette, un son de nappe numérique différent est produit. Évitez de faire des mouvements rapides, sinon le son produit sera similaire à celui d’une radio AM. Un autre type de modification peut être réalisé par le biais de l’intensité de la modulation des paramètres Wave des oscillateurs 1, 2 et 3. Comme nous l’avons déjà mentionné à propos du réglage Slapped Strat, la valeur du paramètre d’intensité définit à la fois la largeur des pas et la direction suivie pour la lecture des tables d’ondes. Vous pouvez essayer de modifier le niveau, à l’aide de valeurs positives ou négatives. Un effet secondaire intéressant de la valeur FM du filtre 2 (routage de modulation 4, Lowpass Filter FM)se produit lorsque la roulette de modulation est placée sur des positions plus élevées : la modulation de fréquence du filtre est augmentée, ce qui accentue tous les battements cycliques (hauteurs tonales vibrantes, désaccords, largeur d’impulsion). il en résulte également une qualité rugueuse, « sifflante » du son émis. La FM offre un vaste champ d’expérimentation et vous avez le choix entre les modulations suivantes : • Une FM initiale, via le paramètre FM du second filtre, que vous pouvez remettre en forme (en affectant une valeur de modulation négative comme maximum pour le routage de modulation 4) en plaçant la roulette de modulation tout en haut de sa course. • Une FM permanente (et une autre configuration de modulation, enregistrée pour une assignation différente). Vous pouvez également désactiver la FM, si vous trouvez que l’effet produit donne un son trop « sale ». Le contrôle en tempsréels’effectue via la pression pour un vibrato (routage de modulation 10) et aussi pour une légère ouverture de filtre (paramètre Cutoff) afin de mettre en valeur la modulation (routage de modulation 9). Utilisation du réglage Wheelsyncer de l’ES2 Les sons synchronisés ne sont jamais devenus obsolètes et ils connaissent même aujourd’hui un renouveau avec les derniers styles de musique électronique populaires. Pour obtenir une description des aspects techniques de la synchronisation forcée d’un oscillateur, consultez la rubrique Synchronisation des oscillateurs de l’ES2. Voici, en pratique, comment procéder : Chapitre 5 ES2 137 Wheelsyncer est un son lead n’utilisant qu’un seul oscillateur ; tous les autres sont désactivés. Bien que l’oscillateur 2 soit le seul à générer activement un son, il dépend directement de l’oscillateur 1. Si vous modifiez la hauteur tonale ou l’accord de l’oscillateur 1, la hauteur tonale globale du son devient fausse ou subit une transposition. La tonalité de l’oscillateur 2 crée la couleur sonore (les harmoniques) du son synchronisé. Les changements de hauteur tonale sont régis par le routage de modulation 7 : la hauteur tonale de l’oscillateur 2 est assignée à la roulette de modulation. En faisant varier la roulette, vous pouvez explorer les différents spectres harmoniques programmés pour les changements en temps réel. Toute modification apportée ici commence par s’appliquer à la hauteur tonale de l’oscillateur 2 lui-même. Ce dernier est réglé 3 demi-tons en dessous de la hauteur tonale globale. N’hésitez pas à entrer une autre hauteur tonale pour l’oscillateur 2 ; elle ne modifie pas l’accord du son. La modification suivante peut porter, par exemple, sur l’intensité (ou l’intervalle) du routage de modulation 7. La valeur maximale a été définie ; or, si celle-ci est trop extrême pour vos besoins, n’hésitez pas à la diminuer. Une autre modification concerne la couleur tonale du son lead lui-même. L’oscillateur 1 est désactivé, parce que le patch vous convient. Si vousl’activez, touteslesformes d’onde de l’oscillateur 1 (Digiwaves, formes d’onde standard ou onde sinusoïdale pouvant être davantage modulée par la FM) peuvent être utilisées. Tousles contrôles en tempsréelse font via la roulette de modulation, qui permet d’ouvrir le filtre sur le routage de modulation 6, d’effectuer un mouvement panoramique sur le routage de modulation 8 et d’accélérer le mouvement panoramique sur le routage de modulation 9. Si vous souhaitez effectuer des modulations plus complexes, une configuration similaire est utilisée pour une simulation d’enceinte Leslie dans le réglage Wheelrocker (consultez la rubrique Utilisation du réglage Wheelrocker de l’ES2. 138 Chapitre 5 ES2 L’EFM1 16-voix est un synthétiseur de modulation de fréquence simple, mais puissant. Il permet d’obtenir de riches sons de type cloche et numériques qu’offre la synthèse de modulation de fréquence (frequency modulation, FM). Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différents systèmes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface EFM1 (p 140) • Utilisation des paramètres Modulator et Carrier de l’EFM1 (p 141) • Utilisation des paramètres EFM1 Modulation (p 144) • Réglage des paramètres Global EFM1 (p 146) • Réglage des paramètres EFM1 Output (p 147) • Création de variations sonores aléatoires EFM1 (p 148) • Affectation de contrôleurs EFM1 MIDI (p 148) 139 EFM1 6 Présentation de l’interface EFM1 Avant de découvrir les paramètres de l’EFM1, cette rubrique vous permet de vous familiariser avec les différents éléments qui constituent l’interface graphique de ce logiciel. Paramètres Modulator Paramètres Carrier Paramètres Randomize Paramètres de la section Modulation Paramètres de la section Modulation Paramètres Output Paramètres globaux Paramètres globaux Autres paramètres Paramètres Output Le module EFM 1 se divise en plusieurs parties. • ParamètresGlobal : la partie supérieure contient des paramètres qui définissent l’accord global de l’EFM1. D’autres commandes vous permettent de définir le temps de Glide (portamento), de limiter le nombre de voix et d’épaissir le son grâce à Unison. Consultez Réglage des paramètres Global EFM1. • Paramètres Modulator et Carrier : le moteur FM comprend les paramètres Modulator et Carrier (parties en relief et plus foncées), ainsi que le potentiomètre FM Intensity (au centre). Il s’agit là des principales commandes permettant de définir la tonalité de base de l’EFM1. Consultez Utilisation des paramètres Modulator et Carrier de l’EFM1. • Paramètres Modulation : l’enveloppe de modulation et l’oscillateur LFO, qui s’affichent dansles partiessupérieure et inférieure de la zone en forme de champignon, au centre, servent à animer le son. Consultez Utilisation des paramètres EFM1 Modulation. 140 Chapitre 6 EFM1 • Paramètres Output : la partie inférieure comprend la section Output, qui intègre les potentiomètres Sub Osc Level et Stereo Detune. Ceux-ci permettent d’épaissir le son. L’enveloppe de volume, ainsi que les commandes Main Level et Velocity, sont utilisées pour définir le niveau de l’EFM1. Consultez Réglage des paramètres EFM1 Output. • Paramètres Randomize : le bouton et le champ Randomize se trouvent dans la partie inférieure droite. Ils servent à créer des variations aléatoires des réglages actuels et à obtenir ainsi des sons nouveaux. Consultez Création de variations sonores aléatoires EFM1. • Paramètres Extended : ces paramètres, disponibles via le triangle d’affichage situé dans la partie inférieure gauche de l’interface, vous permettent d’assigner des contrôleurs MIDI aux paramètres FM Depth et Vibrato. Consultez Affectation de contrôleurs EFM1 MIDI. Utilisation des paramètres Modulator et Carrier de l’EFM1 En synthèse FM, le son de base est généré en réglant différents rapports d’accord entre les oscillateurs Modulator et Carrier, ainsi qu’en modifiant l’intensité FM. Le rapport d’accord détermine la structure basique des sons dominants, dont le niveau est contrôlé par l’intensité FM. Au cœur du système de synthèse de l’EFM1, se trouvent un oscillateur à ondes multiples modulateur et un oscillateursinusoïdal porteur. L’onde sinusoïdale de base (de l’oscillateur porteur) représente un ton pur et sans caractère. Afin de rendre les sonorités plus intéressantes, l’oscillateur Modulateur est utilisé pour moduler la fréquence de l’oscillateur Porteur. Cette modulation intervient dans la plage audio (vous pouvez l’entendre) et produit un certain nombre de nouveaux harmoniques qui deviennent audibles. L’onde sinusoïdale pure (de l’oscillateur porteur) est alors combinée avec les nouveaux harmoniques, ce qui rend le son nettement plus intéressant. Chapitre 6 EFM1 141 Les modifications du rapport des deux oscillateurs se font en réglant les paramètres Harmonic, disponibles dans les deux sections Modulator et Carrier. L’accord peut également être réglé par le biais des paramètres (Tune) Fine, abordés ci-dessous. Paramètres Modulator Paramètres Carrier Potentiomètre FM Intensity • PotentiomètresHarmonic : permettent de définir le rapport d’accord entre le Modulator (à gauche) et le Carrier (à droite). Consultez Réglage du EFM1 Tuning Ratio. • Potentiomètres Fine (tune) : permettent d’ajuster l’accord entre deux harmoniques adjacents (tel que déterminé par les potentiomètres Harmonic). La plage de cette commande est la position centrale (0). Le potentiomètre Fine tune n’a aucun effet. Cliquez sur le 0 pour centrer le potentiomètre Fine tune. Selon l’amplitude du désaccord, vous entendrez soit : • Un subtil « battement » du timbre (si l’amplitude est faible). • De nouveaux sons dominants harmoniques et non harmoniques (si l’amplitude est élevée). • Potentiomètre FM (Intensity) : définit la valeur de la modulation de fréquence de l’oscillateur porteur effectuée par l’oscillateur modulateur. Lorsque vous réglez le potentiomètre FM, l’intensité (et le nombre) de nouveaux sons dominants(harmoniques) augmente, rendant ainsi le son plus clair. Remarque : bien que la technologie sous-jacente soit très différente, le paramètre FM (Intensity) peut être comparé au paramètre Filter Cutoff d’un synthétiseur analogique. • Potentiomètre Wave (Modulator) : permet de choisir une forme d’onde différente pour l’oscillateur Modulateur. Consultez Choisir une forme d’onde différente pour l’oscillateur EFM1 Modulator Waveform. • Bouton Fixed Carrier(Carrier) : permet de déconnecter la fréquence du porteur du clavier, le pitch bend et les modulations du LFO. Cela permet de produire un ton de porteur exempt de ces sources de modulation. 142 Chapitre 6 EFM1 Réglage du EFM1 Tuning Ratio La fréquence du porteur est déterminée par la note jouée. Quant à la fréquence du modulateur, elle est généralement un multiple de la fréquence du porteur. Vous pouvez accorder le modulateur et le porteur sur l’un des 32 premiers harmoniques. La relation (ou le rapport) d’accord existant entre les deux oscillateurs modifie de façon considérable le son de base de l’EFM 1. C’est pourquoi, il est préférable de régler ce paramètre à l’oreille. Les potentiomètres Harmonic permettent de définir le rapport d’accord entre le Modulator (à gauche) et le Carrier (à droite). En règle générale, les rapports d’accord pairs entre le Porteur et le Modulateur ont tendance à produire un son plus harmonique ou plus musical, tandis que les rapports impairs produisent des sons dominants beaucoup moins mélodieux, parfaits pour les sons de cloche et les bruits métalliques. Le rapport d’accord peut, par conséquent, être comparé au sélecteur de forme d’onde d’un synthétiseur analogique. Remarque : les potentiomètres Harmonic et Fine tune affectent uniquement la relation d’accord entre les oscillateurs Carrier et Modulator. Ils ne doivent pas être confondus avec les paramètres globaux Tune et Fine Tune, qui déterminent l’accord global de l’EFM1 (consultez Réglage des paramètres Global EFM1). Quelques exemples de rapports d’accord à essayer µ Réglez le Modulateur et le Porteursur le premier harmonique (rapport 1:1). Vous obtiendrez un son en dents de scie. µ Si vous réglez le Modulateur sur le deuxième harmonique et le Porteur sur le premier (rapport 2:1), la tonalité produite vous fera penser à une onde carrée. Choisir une forme d’onde différente pour l’oscillateur EFM1 Modulator Waveform En synthèse FM classique, les sinusoïdes sont utilisées en tant que formes d’onde pour le Modulator et le Carrier. Pour étendre considérablement ses capacités acoustiques, l’oscillateur EFM1 Modulator fournit un certain nombre de formes d’onde numériques supplémentaires. Ces formes d’onde contiennent un certain nombre d’harmoniques supplémentaires, qui offrent une dimension supplémentaire aux sons FM obtenus. Pour choisir une forme d’onde différente µ Tournez le potentiomètre correspondant au paramètre Wave. µ Lorsque le bouton est tourné complètement vers la gauche, le modulateur produit une onde sinusoïdale. Chapitre 6 EFM1 143 µ Si vous tournez le paramètre Wave dans le sens des aiguilles d’une montre, vous verrez défiler une suite de formes d’onde numériques complexes. Utilisation des paramètres EFM1 Modulation Fondamentalement, la synthèse FM résulte de l’intensité et du type de modulations se produisant dans le chemin de signal. Par conséquent, les « modulateurs » évoqués dans cette rubrique ont un impact (et un rôle à jouer) différent des enveloppes et des LFO équivalents que l’on trouve dans les conceptions de synthétiseurs analogiques. Paramètres LFO Enveloppe de modulation FM Depth Modulator Pitch • Curseurs Modulation Env(elope) : contrôlent à la fois les paramètres FM (Intensity) et Modulator pitch dans le temps. L’enveloppe Modulation Env se déclenche dès qu’elle reçoit une note MIDI. • Curseur Attack : définit le temps nécessaire pour atteindre le niveau d’enveloppe maximum. • Curseur Decay : définit le temps nécessaire pour atteindre le niveau Sustain. • Curseur Sustain : définit un niveau maintenu jusqu’à ce que la note MIDIsoit relâchée. • Curseur Release : définit le temps nécessaire pour atteindre le niveau zéro, une fois la note MIDI relâchée. 144 Chapitre 6 EFM1 • Potentiomètre Modulator Pitch : détermine l’impact de l’enveloppe de modulation sur la hauteur de note de l’oscillateur modulateur. • Tournez le bouton dans le sens des aiguilles d’une montre afin d’augmenter l’effet de l’enveloppe de modulation. Si voustournez ce même bouton dansle sens contraire, l’effet de l’enveloppe de modulation est inversé, ce qui signifie que l’enveloppe descend lors de la phase d’attaque et remonte pendant les phases de chute et de relâchement. • En position centrale (0), l’enveloppe n’a aucun effet sur la hauteur de note de l’oscillateur Modulator. Cliquez sur le 0 pour centrer le potentiomètre Modulator Pitch. • Potentiomètre FMDepth : détermine l’impact de l’enveloppe de modulation sur l’intensité FM. • Tournez le bouton dans le sens des aiguilles d’une montre afin d’augmenter l’effet de l’enveloppe de modulation. Si voustournez ce même bouton dansle sens contraire, l’effet de l’enveloppe de modulation est inversé, ce qui signifie que l’enveloppe descend lors de la phase d’attaque et remonte pendant les phases de chute et de relâchement. • En position centrale (0), l’enveloppe n’a aucun effet sur l’intensité FM. Cliquez sur le 0 pour centrer le potentiomètre FM Depth. • Potentiomètre LFO (Low Frequency Oscillator) : détermine l’amplitude de modulation appliquée à l’intensité FM ou à la hauteur de note. • Tournez le bouton LFO dans le sens des aiguilles d’une montre afin d’augmenter l’effet du LFO sur FM Intensity. Tournez-le dans le sens inverse pour introduire un vibrato. • En position centrale (0), le LFO n’a aucun effet. Cliquez sur le 0 pour centrer le potentiomètre LFO. • Potentiomètre Rate : définit la vitesse du LFO. Chapitre 6 EFM1 145 Réglage des paramètres Global EFM1 Les paramètres globaux permettent de régler l’accord, le nombre de voix, ainsi que d’autres aspects liés au son global produit par l’EFM1. • Menu local Transpose : définit la hauteur de note de base. Cette commande permet de transposer l’EFM1 d’un certain nombre d’octaves. • Champ Tune : permet d’affiner la hauteur tonale de l’EFM1 au centième près. Un centième correspond à 1/100e de demi-ton. • Menu local Voice : définit le nombre de voix pouvant être écoutées simultanément (polyphonie). Cliquez sur le menu local pour choisir entre mono (une voix), legato (une voix) ou tout nombre compris entre 2 et 16 voix. Remarque : en mode monophonique legato, la lecture de notes superposées ne redéclenche pas les enveloppes de l’EFM1. • Bouton Unison : lorsque vous activez le bouton Unison, deux voix EFM 1 complètes sont superposées. Le son de l’EFM 1 devient alors plus lourd et plus épais. En mode Unisson, l’EFM1 peut être joué avec une polyphonie allant jusqu’à 8 voix. • Champ Glide : permet d’introduire un Pitch Bend continu entre deux notes jouées consécutives. Réglez la valeur Glide (en ms) pour déterminer le temps que met la hauteur de note pour passer d’une note jouée à la suivante. Remarque : vous pouvez utiliser le paramètre Glide mode monophonique (mono et legato), ainsi qu’en mode polyphonique (de 2 à 16 voix). 146 Chapitre 6 EFM1 Réglage des paramètres EFM1 Output L’EFM1 fournit les commandes de niveau suivantes. Enveloppe Volume Potentiomètre Main Level Potentiomètre Stereo Detune Potentiomètre Velocity Potentiomètre Sub Osc Level • Potentiomètre Sub Osc Level : utilisé pour ajouter des basses. L’EFM1 comprend un oscillateur sinusoïdal secondaire. Celui-ci agit une octave en dessous du moteur FM (selon la valeur déterminée par le paramètre Transpose). Si vous montez le bouton Sub Osc Level, la sinusoïde de l’oscillateur secondaire est mélangée à la sortie du moteur FM de l’EFM 1. • Potentiomètre Stereo Detune : ajoute un effet de chœur riche et varié au son de l’EFM 1. Pour cela, la voix de l’EFM 1 est doublée à l’aide d’un second moteur FM désaccordé. Des valeurs élevées apportent au désaccord un effet stéréo de grande ampleur, ce qui augmente la « dimension spatiale » perçue et la « largeur » de votre son. Remarque : l’utilisation de ce paramètre peut entraîner la perte de la compatibilité mono. • Enveloppe Vol(ume) : module le niveau du son dans le temps. L’enveloppe de volume se déclenche dès qu’elle reçoit une note MIDI. • Curseur Attack : définit le temps nécessaire pour atteindre le volume maximum. • Curseur Decay : définit le temps nécessaire pour atteindre le niveau Sustain. • Curseur Sustain : définit un niveau maintenu jusqu’à ce que la note MIDIsoit relâchée. • Curseur Release : définit le temps nécessaire pour atteindre le niveau zéro, une fois la note MIDI relâchée. • Potentiomètre Main Level : définit le niveau de sortie global de l’EFM1. • Potentiomètre Velocity : détermine la sensibilité de l’EFM1 aux messages de vélocité MIDI entrants. L’EFM1 réagit aux messages de vélocité MIDI de façon dynamique. Ainsi, plus votre jeu est puissant, plus le son sera fort et clair. Tournez le bouton Velocity complètement versla gauche si voussouhaitez que l’EFM1 ne réagisse pas à la vélocité des notes. Chapitre 6 EFM1 147 Création de variations sonores aléatoires EFM1 La fonction Randomize (dans le coin inférieur droit de l’interface) génère de nouveaux sons. Pour ce faire, elle modifie, de façon aléatoire, un certain nombre de valeurs de paramètres clés de l’EFM1. Cette fonction est idéale pour créer des variations subtiles sur un son donné, ou pour créer des sons totalement nouveaux lorsque vous ne vous sentez pas inspiré (ou que vous avez besoin d’un coup de pouce pour vous lancer dans la synthèse FM). Pour utiliser la fonction Randomize µ Cliquez sur le bouton Randomize. Vous pouvez cliquer autant de fois que vousle souhaitez, mais n’oubliez pas d’enregistrer les réglages lorsque vous trouvez un son que vous souhaitez conserver. Pour limiter le degré de randomisation µ Glissez dansle champ numérique pour déterminer la quantité de randomisation (variance par rapport au son d’origine). Il est conseillé d’utiliser des valeurs inférieures à 10 pour cent si vous souhaitez juste modifier légèrement le son actuel. Choisissez des valeurs plus élevées si vous voulez modifier radicalement le son à chacun de vos clics. Affectation de contrôleurs EFM1 MIDI Les paramètres EFM1 Extended vous permettent de commander l’EFM1 à distance à l’aide du clavier de votre contrôleur MIDI (ou d’un autre appareil MIDI). Vous pouvez affecter n’importe quel contrôleur MIDI non utilisé (et approprié) aux paramètres suivants : • FM Intensity • Vibrato Pour affecter un contrôleur µ Sélectionnez le contrôleur souhaité dans le menu Ctrl FM ou Ctrl Vibrato, puis réglez le degré de modulation ou de vibrato à l’aide du curseur situé sous le menu concerné. Remarque : l’EFM1 réagit également aux données relatives au Pitch Bend MIDI. Celui-ci est en effet « câblé en dur » au niveau de la hauteur tonale globale de l’EFM1. 148 Chapitre 6 EFM1 Le logiciel EVB3 émule le son et les caractéristiques d’un orgue Hammond B3 et d’une cabine Leslie. Le présent chapitre couvre les aspects suivants : • Fonctionnalités de l'EVB3 (p 149) • Présentation de l’interface EVB3 (p 151) • Utilisation des commandes de tirette EVB3 (p 153) • Utilisation des touches de présélection de l’EVB3 (p 154) • Fonction de morphing de l’EVB3 (p 158) • Utilisation du Vibrato scanner EVB3 intégré (p 159) • Utilisation de l’effet EVB3 Percussion (p 161) • Utilisation des paramètres Tone globale dans EVB3 (p 162) • Utilisation des paramètres Modèle dans EVB3 (p 163) • Utilisation des effets EVB3 intégrés (p 171) • Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 (p 176) • Réglage de l’EVB3 pour vos équipements MIDI (p 181) • Attribution d’un contrôleur MIDI dans l’EVB3 (p 184) • Synthèse additive à l’aide des tirettes (p 191) • Effet résiduel (p 192) • Génération sonore à roues phoniques (p 193) • Bref historique de l’orgue Hammond (p 193) • Cabine Leslie (p 194) Fonctionnalités de l'EVB3 L’EVB3 simule un orgue à deux claviers et un pédalier, chacun d’eux pouvant avoir son propre réglage des sons (registration). Une fonction de morphing permet d’effectuer un fondu enchaîné entre deux registrations. 149 EVB3 7 Si vous le désirez, l’EVB3 peut être joué avec deux claviers et un pédalier MIDI. Il dispose également de fonctions permettant de jouer tous les registres avec un clavier maître unique. L’EVB3 utilise un processus de génération sonore appelé Synthèse par modélisation des composantes. Celui-ci reproduit de manière fidèle les générateurs de roues phoniques d’un orgue Hammond électromécanique, et ce jusque dans les moindres détails. Cela inclut certaines imperfections qui font le charme du Hammond, comme son niveau élevé de diaphonie et les bruits de contact destouches. Vous pouvez également régler l’intensité de ces particularités selon vos goûts. Cette flexibilité permet de créer toute une gamme de sons, du son parfaitement propre au son déformé ou éraillé, avec touslesintermédiaires possibles. L’EVB3 simule également différents types de sons de cabine Leslie, avec systèmes rotatifs, avec etsans déflecteurs. Vous pouvez également définir à votre gré la position et l’intensité stéréo du micro (utilisé pour capturer le son de la cabine Leslie). Enfin, l’EVB3 propose également des effets intégrés, avec notamment trois overdrives à tube dotés de caractéristiques sonores différentes, d’un égaliseur, d’effets wah-wah et d’une réverbération. Vous pouvez définir librement le cheminement du signal de ces processeurs. 150 Chapitre 7 EVB3 Présentation de l’interface EVB3 Vous pouvez ouvrir et fermer l’EVB3 en cliquant sur le bouton situé sous le contrôle de volume. Cliquez ici pour ouvrir le couvercle. Paramètres Scanner Vibrato Paramètres MIDI Control Paramètres Preset et Morph Section Effects Paramètres Leslie Paramètres Global Tone Paramètres Drawbar Paramètres Percussion Paramètres Modelling et Sustain L’interface EVB3 est divisée selon les sections suivantes : • ParamètresDrawbar : la section centrale supérieure contient lestirettes, qui permettent de modifier en temps réel le son de base de l’orgue. Consultez Utilisation des commandes de tirette EVB3. Chapitre 7 EVB3 151 • Paramètres Preset et Morph : la section située en dessous des tirettes contient les paramètres Preset (registration) et Morph. Consultez Utilisation des touches de présélection de l’EVB3 et Fonction de morphing de l’EVB3. • Paramètres Vibrato scanner et Percussion : les paramètres Vibrato scanner et Percussion sont situés respectivement en haut à gauche et à droite de l’interface. Ils permettent d’ajouter un effet de vibrato ou de percussion au son de l’orgue. Consultez Utilisation du Vibrato scanner EVB3 intégré et Utilisation de l’effet EVB3 Percussion. • Paramètres Global Tone : la rangée de potentiomètres située au centre de l’interface permet de régler les paramètres Global Tone. Ces potentiomètres permettent d’accéder rapidement à différents aspects sonores. Consultez Utilisation des paramètres Tone globale dans EVB3. • Paramètres Model et Sustain : les sections Organ, Pitch, Condition et Sustain (en bas à gauche de l’interface) permettent de contrôler de manière précise la tonalité de l’orgue ainsi que différents aspects, tels que le réglage fin, les caractéristiques de clic des touches et les niveaux de diaphonie. Généralement, ces paramètres sont accessibles uniquement en mode modification ou création du son de l’orgue. Consultez Utilisation des paramètres Modèle dans EVB3. • Paramètres Leslie : les paramètres de modèle et de contrôle d’une cabine Leslie peuvent être réglés à l’aide des deux champssitués en bas à droite de l’interface EVB3. Consultez Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3. • Section Effets : vous pouvez contrôler les effets EQ, Wah, Distorsion, Chœur et Réverbération dans la section centrale droite de l’interface EVB3. Consultez Utilisation des effets EVB3 intégrés. • ParamètresMIDI Control : la section turquoise située en bas à gauche de l’interface EVB3 est utilisée pour affecter les paramètres de clavier MIDI, vous permettant de contrôler les tirettes EVB3 à l’aide de votre contrôleur MIDI. Consultez Réglage de l’EVB3 pour vos équipements MIDI. 152 Chapitre 7 EVB3 Utilisation des commandes de tirette EVB3 L’EVB3 comprend 20 tirettes, neuf pour chaque clavier (supérieur et inférieur) et deux pour le pédalier. Les tirettes du clavier supérieur sont situées sur la gauche, celles du pédalier au centre et celles du clavier inférieur sur la droite. Tirettes du clavier supérieur Tirettes du clavier inférieur Tirettes du pédalier Les tirettes se comportent à l’inverse des curseurs d’une table de mixage : plus vous les tirez vers vous, plus les chœurs sinusoïdaux sélectionnés seront forts. Le contrôle MIDI des tirettes est également inversé lorsque vous utilisez un pupitre de curseurs MIDI standard. Pour simplifier, chaque chœur sinusoïdal est une onde sinusoïdale mixée à un niveau donné, déterminé par la position de la tirette. Vous ajoutez des chœurs sinusoïdaux de cette manière afin de créer un son d’orgue global, pour le clavier supérieur ou inférieur. Il s’agit là d’une forme basique de synthèse additive, qui sera expliquée plus en détail à la rubrique Synthèse additive à l’aide des tirettes. Vous pouvez saisir intuitivement les principes fondamentaux de la synthèse additive en jouant un peu avec les tirettes. Deux tirettes sont disponibles pour le pédalier basse. La basse n’est pas une onde sinusoïdale pure, comme celles des claviers supérieur et inférieur. Le son du pédalier utilise une forme d’onde mixte, qui reproduit de manière réaliste les tonalités de basse d’un Hammond B3. Les deux registres diffèrent en hauteur, mais aussi sur les points suivants : • Le registre gauche de 16 pieds (dérivé des longueurs d’orgue à tuyaux) comprend plus de huit octaves. • Le registre droit de huit pieds offre une cinquième section plusimportante (amélioration de la cinquième harmonique). Chapitre 7 EVB3 153 Désactivation du repli sur la tirette 16’ de l’EVB3 Le menu local Bass (dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) vous permet d’imiter le comportement de basse sans repli du tout premier orgue Hammond, le modèle A. Ce modèle ne comportait pas de repli pour la tirette 16', dans l’octave la plus basse, avec les sorties du générateur douze tons inférieurs disponibles sur la première tirette de l’octave inférieure des claviers. Sur d’autres orgues de console, les sorties les plus basses du générateur douze tons sont uniquement disponibles via les pédales. Pour simuler le comportement de l’orgue Hammond modèle A µ Sélectionnez Jusqu’en bas dans le menu local Bass. Sans le repli, vous constaterez que le son est plus strident, et semblable au son de pédale, en particulier si vous n’utilisez pas de module Leslie lors de la lecture de l’EVB3. Utilisation des touches de présélection de l’EVB3 Le B3 Hammond original est équipé de 12 boutons, situés en dessous des tirettes. Il s’agit des touches de présélection, disposées comme les touches du clavier (touches noires, dièses blancs). Elles servent à appeler les registrations de tirettes (positions). Touche d’annulation Touches de présélection Molette Morph La plage par défaut des touches de présélection (registration) de l’EVB3 s’étend sur les notes MIDI 24 à 35 (C0 (Do0) à B0 (Si0)). Cela signifie que la note MIDI la plus basse pouvant être jouée est la n°36 (C1, soit Do1). Vous pouvez, bien entendu, transposer la plage du clavier dans votre application hôte ou directement dans l’EVB3. Pour replacer l’importance de la plage du clavier dans un contexte plus réel : si votre clavier va de C (Do) à C (Do) (5 octaves, 61 touches) et que les valeurs du paramètre Transposition de votre application hôte sont définies sur 0, vous pouvez jouer de l’EVB3 sur la totalité de la plage du clavier. Consultez la rubrique Transposition de l’EVB3 par octaves pour plus de détails sur la transposition de la plage du clavier dans l’EVB3. 154 Chapitre 7 EVB3 Les touches de présélection (registration) sont placées une octave en dessous de cette plage (avec ou sans transposition). Sélection des registrations/présélections de l’EVB3 Les touches de présélection du clavier supérieur sont situées à gauche de la roulette Morph et celles du clavier inférieur à droite. La position courante des tirettes est indiquée par de petites lignes verticales sur chaque touche de présélection. Ces représentations de tirette miniatures sont mises à jour en temps réel. Important: les présélections concernent uniquement lesréglages de registration (tirette) pour un seul clavier. Elles ne mémorisent pas les réglages de vibrato ou d’autres paramètres. Si vous souhaitez enregistrer et restaurer l’ensemble des réglages de l’instrument (y compris les effets), servez-vous des commandes Réglages, dans l’en-tête de fenêtre du module. Pour choisir une registration Procédez de l’une des manières suivantes : µ Cliquez sur la touche de présélection souhaitée dansl’interface EVB3 (à gauche ou à droite de la roulette Morphing). µ Appuyez sur l’une des notes MIDI de la touche de présélection (notes MIDI 24 à 35). Vous pouvez modifier immédiatement les tirettes des présélections rappelées. La présélection mémorise automatiquement toute modification de la position de la tirette, dès que vous l’appliquez, sans qu’aucune autre action de votre part ne soit nécessaire. En d’autres termes, vous n’avez pas réellement à enregistrer une présélection. Toutefois, vous pouvez vousservir de la fonction Enregistrer dans poursauvegarder une registration sur une touche de présélection spécifique (voir Enregistrement desregistrations de tirette EVB3 lors du morphing). Remarque : sur les notes C#/Do# à A#/La#, la percussion fonctionne uniquement si le paramètre Perc est défini sur Toujours (voir Utilisation de l’effet EVB3 Percussion). Désactivation de la présélection MIDI dans l’EVB3 Vous pouvez désactiver la présélection via les notes MIDI 24 à 35, afin d’éviter tout problème du aux transpositions. Chapitre 7 EVB3 155 Pour désactiver la présélection MIDI µ Désactivez le paramètre MIDI to Presetkey (dans la section turquoise située en bas à gauche de l’interface). Cliquez ici pour désactiver la commutation de touches préréglées. Initialisation des registrations de l’EVB3 La touche de présélection la plus basse (C) est la touche d’annulation (Cancel). Les 11 autres touches, de Do(n) à Si, appellent les registrations. Cliquez ici pour initialiser un enregistrement pour le clavier inférieur. Cliquez ici pour initialiser un enregistrement pour le clavier supérieur. Pour initialiser une registration Procédez de l’une des manières suivantes : µ Cliquez sur la touche C dans l’interface EVB3. µ Jouez la note MIDI n°24. Changement de registration EVB3 en cours de lecture (effet Gate orgue) Il existe une technique utilisant les deux mains qui permet d’obtenir un effet d’orgue de type « gate », en changeant de registration en cours de lecture. Chaque fois que vous passez à une nouvelle registration, l’accord est joué à nouveau. Pour appliquer la technique de gate 1 Maintenez la touche C (Cancel) enfoncée, sur le clavier maître, à l’aide du petit doigt de votre main gauche, tout en réalisant un accord avec votre main droite. 156 Chapitre 7 EVB3 2 Appuyez sur les touches de présélection souhaitées à l’aide des autres doigts de la main gauche. L’accord appliqué par la main droite est rejoué (avec la nouvelle registration) à chaque fois que vous appuyez sur l’une des touches de présélection. Changement de registration EVB3 avec un contrôleur à deux tirettes Lorsque vous utilisez un contrôleur matériel à deux tirettes, le menu local Drawbar (situé dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) propose un mode supplémentaire qui permet de basculer entre deux registrations, comme avec un vrai orgue Hammond. Si vous utilisez le réglage par défaut (« La tirette affecte la touche de présélection courante »), les tirettes changent toujours la registration de la touche de présélection active. Ce fonctionnement est différent sur un orgue Hammond réel, où les tirettes affectent uniquement les registrations de présélection Bb/Sib (clavier supérieur) et B/Si (clavier inférieur). Cette fonction vous permet de préparer une nouvelle registration avec les tirettes lors de la lecture, puis de passer à la nouvelle registration en fonction des besoins. Pour simuler le comportement de changement entre B (Si) et Bb (Sib) avec l’EVB3 1 Sélectionnez l’option only B & Bb Key dans le menu local Drawbar. Menu Drawbar affects Cette option permet aux tirettes du clavier supérieur de changer la registration de la touche de présélection Bb (Sib) et aux tirettes du clavier inférieur d’affecter la touche de présélection B (Si). 2 Changez les tirettes de la touche de présélection Bb/Sib en fonction de vos besoins. Vous pouvez librement jouer sur le clavier pendant cette opération, sans changer l’enregistrement choisi actuellement. 3 Basculez vers l’enregistrement préparé avec la clé de préréglage Sib. Chapitre 7 EVB3 157 Fonction de morphing de l’EVB3 Vous pouvez basculer (ou effectuer un fondu enchaîné avec la fonction de morphing) à votre convenance entre les présélections du clavier supérieur. Paramètres Morph Molette Morph • Menu local Range : détermine la plage de touches de présélection affectée par le morphing. Voir Définition d’une plage de morphing EVB3 pour plus de détails. • Champ Mode morphing : sélectionnez l’option Step ou Linear pour changer de présélection de manière directe ou en fondu enchaîné. • Roulette Morphing : faites tourner la roulette vers la gauche ou la droite pour contrôler le changement ou le morphing. Vous pouvez également utiliser un contrôleur MIDI affecté à la roulette Morphing. Par exemple, la roulette de modulation de votre clavier. • Menu local MIDI CC : cliquez sur ce menu pour affecter un contrôleur MIDI à la roulette Morphing. Vous pouvez choisir n’importe quel numéro de contrôleur MIDI indiqué dans le menu CC (ou dans le canal aftertouch) pour contrôler la roulette Morphing. Vous pouvez également cliquer sur Apprendre pour indiquer à la roulette Morphing comment répondre à un message entrant. Consultez Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre. • Menu local Save to : vous permet d’enregistrer les registrations de tirette causées par le processus de morphing. Consultez Enregistrement des registrations de tirette EVB3 lors du morphing. Définition d’une plage de morphing EVB3 Après avoir choisi le contrôleur souhaité pour effectuer le changement ou le morphing des registrations du clavier supérieur, vous pouvez déterminer le nombre de touches de présélection qui seront concernées. 158 Chapitre 7 EVB3 Le morphing (ou le changement) commence toujours par la première touche de présélection, le B (Si). • Le paramètre Range définit la touche de présélection de fin. • Si Plage = A#,vous enchaînerez deux présélections. • Si Plage = G#, vous enchaînerez quatre présélections (B, A#, A et G soit Si, La(n), La et Sol). • Si Plage = G#, vous enchaînerez six présélections (etc.). Enregistrement des registrations de tirette EVB3 lors du morphing En mode Linéaire (morphing), le fondu résulte d’un ensemble de nouvelles registrations de tirette que vous pouvez avoir envie de sauvegarder. Mais avant, vous pouvez avoir besoin de modifier manuellement certaines positions de tirette. Pour enregistrer une registration lors du morphing µ Cliquez sur Enregistrer dans (à droite du paramètre MIDI cc) et sélectionner une touche de présélection dans le menu local. Remarque : dès que le morphing commence, la mention Morphing (située en dessous de la roulette Morphing) s’affiche en orange, pour indiquer la progression de l’opération. Vous pouvez modifier directement les tirettes afin de changer le résultat du morphing, mais vous devez impérativement utiliser le menu local Save dans pour ne pas perdre vos modifications. La mention Morph se met à clignoter dès qu’une modification des tirettes a été effectuée, ce qui indique des changements dans les valeurs de Morphing. Utilisation du Vibrato scanner EVB3 intégré L’EVB3 émule l’effet Vibrato scanner du B3 original. Le Vibrato scanner est basé sur une ligne à retard analogique, comportant plusieurs filtres passe-bas. La ligne à retard est analysée (scannée) par condensateur rotatif à lames multipôles. Il s’agit d’un effet très particulier, qui ne peut pas être simulé par de simples LFO (oscillateurs basse fréquence). Chapitre 7 EVB3 159 Remarque : le vibrato de l’orgue lui-même ne doit pas être confondu avec l’effet Leslie, basé sur des systèmes rotatifs diffusant le son des haut-parleurs. L’EVB3 simule les deux. Choisissez le type de chœurs ou de vibrato souhaité en tournant ce potentiomètre. Utilisez les chœurs ou le vibrato pour la commande supérieure, inférieure ou les deux commandes en cliquant ici. Utilisez le paramètre Rate pour définir la vitesse des chœurs ou du vibrato. Détermine la balance de mixage entre les signaux des chœurs et d’origine. • Potentiomètre Type : le potentiomètre du paramètre Type vous permet de faire votre choix parmi trois positions de Vibrato (V1, V2 et V3) ou trois positions de Chœur (C1, C2 et C3). • Dans les positions Vibrato, seul le signal de la ligne à retard est entendu et, comme sur le Hammond B3, les types de vibrato de l’EVB3 offrent des intensités différentes. • Les trois positions Chorus (C1, C2 et C3) mélangent le signal de la ligne à retard avec le signal d’origine. Le mélange du signal de vibrato avec un signal d’origine, statiquement élevé, donne un effet de chorus. Les sons de chœurs de l’orgue sont différents de ceux des effets de chœurs modernes (tels que le module Chœur de.MainStage). • Si vous choisissez l’option C0, le chœur et le vibrato sont désactivés. • Roulette Vitesse : définit la vitesse du vibrato ou du chœur. • Roulette Chœur : permet de mixer librement le signal sec avec le signal du vibrato. Ce paramètre est actif uniquement si l’un des réglages de chœur est engagé (C1, C2, C3). • Boutons Upper et Lower : ces boutons vous permettent d’activer ou de désactiver le Vibrato scanner (et l’accentuation des aigus associée), et ce individuellement, pour les clavierssupérieur et inférieur. Le B3 mixe le signal du registre des basses(pédalier) avec le signal du clavier inférieur, le registre du pédalier est affecté par les réglages Vibrato scanner du clavier inférieur. Remarque : les aigus de l’orgue seront légèrement accentués lorsque l’un des réglages de vibrato est utilisé. Une accentuation des aigus se produit également lorsque le réglage C0 (Do0) est actif. 160 Chapitre 7 EVB3 Astuce : la plupart des organistes n’utilisent que très rarement le Vibrato scanner, préférant employer la cabine Leslie seule. D’autres, comme le virtuose du B3, Brian Auger, préfèrent utiliser le vibrato interne de l’orgue par-dessus la Leslie. Comparez les effets de chœur et de vibrato au son imitant la cabine Leslie et choisissez suivant votre préférence. Utilisation de l’effet EVB3 Percussion L’EVB3 émule l’effet Percussion (touche) du B3 original. L’option Percussion est disponible uniquementsur le claviersupérieur, comme sur un B3 d’origine. L’effet ajoute la deuxième ou la troisième harmonique à l’enveloppe d’attaque d’une note. Ces harmoniques s’estompent rapidement, pour laisser place aux tonalités de tirette choisies. L’effet Percussion est polyphonique, mais n’est (re)déclenché qu’après le relâchement de touteslestouches. Si vousrelâchez touteslestouches, les nouvelles notes ou les nouveaux accords sonneront avec une percussion. Si vous jouez legato, ou maintenez certaines touches enfoncées sur le clavier supérieur, aucune percussion ne sera audible. Cliquez pour activer ou désactiver le paramètre Percussion. Définissez l’option Upper level. Définissez les options Time et Volume du paramètre Percussion. Choisissez ici le 2e ou 3e harmonique. Réglez la sensibilité de la vélocité. • Bouton On/Off : appuyez sur le bouton On, dans la section Percussion, pour activer l’effet de percussion. • Bouton 2e/3e : cliquez sur ce bouton pour déterminer quelle harmonique diffuser (le bouton permet de basculer entre la 2e et la 3e). • Roulette Temps : faites glisser cette roulette pour régler le temps de chute de la percussion. • Roulette Volume (Vol) : permet d’ajuster le niveau de chute. Il s’agit d’une amélioration par rapport au B3, où les options Time et Vol pouvaient uniquement être activées ou désactivées. Chapitre 7 EVB3 161 • Roulette Vél : définit la sensibilité à la vitesse de la percussion (contrairement au B3 original, qui n’était pas sensible à la vitesse). Si vous engagez la percussion d’un B3, le volume des registres normaux, non percussifs est légèrement réduit. • Roulette Niveau sup : modifie la balance entre le clavier supérieur (percussif) et le pédalier/clavier inférieur. Sur le B3, l’option de percussion est disponible uniquement si la touche de présélection B a été sélectionnée (voir Utilisation des touches de présélection de l’EVB3). Remarque : définissez le paramètre Perc (dans la section Organ) sur B (Si) uniquement, afin de simuler la restriction de la touche de présélection B (Si). Si vous préférez que la percussion soit toujours disponible, sélectionnez Toujours. Réglage Paradise du temps de percussion EVB3 Le paramètre Time est doté d’un réglage maximum appelé Paradise. Dans cette position, la percussion ne décroît jamais. Ce nom provient d’un célèbre enregistrement de Jimmy Smith « Groovin’ at Small’s Paradise », dans lequel Jimmy utilise un B3 ayant un défaut dans le déclenchement de la percussion. L’intérêt de cette bizarrerie technique est qu’un des sons harmonique est sans Chorus-Vibrato, alors que les harmoniques des tirettes ont un Chorus-Vibrato. Bien que très spécialisée, il peut s’avérer utile d’inclure cette technique dans des morceaux, et plus particulièrement dans des compositions de jazz. Utilisation des paramètres Tone globale dans EVB3 Vous pouvez ajuster différents réglages audio de l’EVB3, tels que le niveau, les accords, le volume des touches, à l’aide des paramètres situés en bas à gauche de la partie grise et dans la section Organ. Potentiomètres d’activation/désactivation Click Potentiomètre Tune Potentiomètre Pedal Click Potentiomètre Expression Potentiomètre Volume • Potentiomètre Tune : modifie l’accord de l’EVB3 en centièmes (pourcentages d’un demi-ton). 0 c correspond à La = 440 Hz. • Potentiomètres Click On/Clic Off : ces boutons servent de commandes de niveau pour le son de clic de touche émis respectivement lors de l’apparition et de la disparition des messages. 162 Chapitre 7 EVB3 • Potentiomètre Pedal Click : commande de niveau du son de clic du registre de pédalier. • Potentiomètre Expression : le bouton Expression est la commande de sensibilité de la pédale d’expression, si vous en avez connecté une (si votre clavier MIDI est équipé d’une entrée de contrôleur assignable ou d’expression). Un usage intensif et souvent rythmique de la pédale d’expression fait partie du style de nombreux organistes. La commande d’expression émule également les changements de tonalité du préamplificateur B3, où les fréquence de basse et d’aigu ne sont pas aussi atténuées que les fréquences moyennes. Votre clavier maître doit transmettre le changement de contrôle MIDI n° 11 lorsque cette pédale est actionnée. Par défaut, l’EVB3 utilise CC #11 comme Expression. • Potentiomètre Volume : détermine le volume de sortie global de l’EVB3. Important : le volume doit être réduit chaque fois que des craquements ou autres manifestations de distorsion numérique se produisent. Des niveaux de volume au-delà de 0 dB peuvent se produire si vous poussez au maximum tous les registres, jouez beaucoup de notes et utilisez l’effet de distorsion. Utilisation des paramètres Modèle dans EVB3 Les paramètres de modèle permettent de contrôler de manière précise votre son d’orgue. Ceci inclut non seulement les commandes de base de niveau et de balance tonale, mais également d’autres paramètres plus intéressants pour l’émulation des caractéristiques sonores (et des limites et « défauts » techniques) de l’orgue Hammond B3 d’origine. Vous pouvez même imiter les défauts dus au vieillissement des composants d’un B3. Pour plus d’informations sur les aspects techniques de l’orgue Hammond B3 et sur les concepts de génération audio par roue phonique, consultez les rubriques Bref historique de l’orgue Hammond et Génération sonore à roues phoniques. Chapitre 7 EVB3 163 Paramètres Pitch L’EVB3 comprend plusieurs paramètres permettant de modifierson comportement tonal, en ajoutant une flexibilité impossible avec l’instrument original. L’EVB3 est accordé selon un tempérament égal. Mais à partir de cet accord standard, vous pouvez faire dévier l’accord dans les basses et les aigus, un peu comme pour les pianos acoustiques (surtout les pianos droits). Vous pouvez également désaccorder de manière aléatoire votre son à l’aide du paramètre Warmth, et même utiliser la roulette Pitch Bend de votre clavier pour déformer le son. Cette dernière n’est pas conforme à l’original, mais elle offre une option créative intéressante. Paramètre Warmth Paramètres Stretch Paramètres Pitch Bend • Curseur Upper Stretch : contrôle la valeur de déviation par rapport à la valeur moyenne des aigus. Plus cette valeur est élevée, plus les notes aiguës seront accordées vers le haut. Avec une valeur de 0, l’EVB3 est accordé avec un tempérament égal, chaque octave ayant une fréquence exactement double par rapport à la suivante. Voir également À propos de la fonction Réglage déviation . • Curseur Lower Stretch : contrôle la valeur de déviation par rapport à la moyenne des fréquences de basses. Plus cette valeur est élevée, plusles notes bassesseront accordées versle bas. Avec une valeur de 0, l’EVB3 est accordé selon un tempérament égal, chaque octave ayant une fréquence réduite exactement de moitié par rapport à la précédente. • Curseur ChalWarmtheur : contrôle la valeur de la déviation aléatoire par rapport à la moyenne (tempérament égal). Une valeur Warmth élevée peut rendre un son d’orgue plus vivant; toutefois,soyez prudent lors de l’utilisation de ce paramètre, car une valeur trop élevée rend un son légèrement faux. Remarque : utiliser les deux paramètres Warmth et Stretch ensemble peut donner un son désaccordé,similaire à un effet de chœur trop lourd. Définissez le paramètre Warmth sur 0 si vous recherchez un son pur. 164 Chapitre 7 EVB3 • Curseurs Pitchbend Up/Down : l’orgue Hammond B3 ne dispose pas de la fonction Pitch Bend. L’usage du Pitch Bend n’est donc pas recommandé si vous souhaitez simuler un orgue de manière réaliste, toutefois il offre un grand nombre d’options créatives. • La sensibilité de Pitch Bend supérieur/inférieur peut être réglée indépendamment, par paliers de demi-ton, à l’aide des paramètres Pitch Bend supérieur et Pitch Bend inférieur. La sensibilité maximum vers le haut est d’une octave. • Vous pouvez également définir le paramètre Pitch Bend inférieur sur Frein (ce qui permet de ralentir progressivement les roues phoniques jusqu’à l’arrêt complet), lorsque la commande Pitch Bend de votre clavier est sur la position minimum. Remarque : le réglage Frein recrée un effet présent à la fin du morceau « Knife Edge » d’Emerson, Lake et Palmer. Le jeu virtuose de Keith Emerson à l’orgue Hammond avait été enregistré sur un magnétophone à bobines, puis doucement ralenti jusqu’à un arrêt total. • Menus locaux Trans UM, Trans LM, et Trans Ped. : permettent de transposer individuellement lesregistres Claviersupérieur, Clavier inférieur et Pédalier, versle haut ou vers le bas, d’une ou deux octaves. Voir Transposition de l’EVB3 par octaves pour plus de détails. À propos de la fonction Réglage déviation Les sons des clavinets, clavecins et pianos comportent des éléments « inharmoniques » dans leur structure. Les fréquences de ces sons dominants (harmoniques) ne sont pas exactement des multiples entiers de la fréquence de base. Les harmoniques des notes (accordées) les plus basses sont, par conséquent, relativement plus proches des fréquences principales des notes plus aiguës. Du fait de l’absence de cordes, cette relation inharmonique n’est pas vraie pour les orgues. La fonction Déviation a été incluse au cas où vous souhaiteriez utiliser l’EVB3 dans un arrangement, en association avec l’enregistrement d’un piano acoustique. Paramètres Click dans EVB3 Les contacts des touches des orgues électromécaniques à roues phoniques tendent à abîmer un peu les barres de contact, introduisant un bref clic audible. S’il y a un peu de corrosion sur les contacts ou les barres de contact, la durée et le niveau de ce clic seront plus élevés Cet aspect de la conception du B3 cause des bruits erratiques(communément appelés bruit de touche), lors de la frappe et du relâchement des touches. Les fans du Hammond adorent ces bruits de clic, car ils donnent une qualité percutante éphémère à la note. L’EVB3 vous permet de régler le volume et le son de ce clic. La couleur tonale et le volume des clics sont modifiés de manière aléatoire et indépendante, à l’aide des réglages de volume Clic début et Clic fin (relâchement). Chapitre 7 EVB3 165 Vous pouvez utiliser les potentiomètres Click On et Click Off (dans la section grise située au-dessus des paramètres Condition) afin de contrôler indépendamment le volume de clic en début de note et en fin de note. Le clic de fin de note est moins audible, même si les deux contrôles sont réglés sur la même valeur, afin de refléter le comportement de l’instrument original. Voir Utilisation des paramètres Tone globale dans EVB3 pour plus d’informations sur ces commandes. Paramètres Click • Curseurs Click Min/Max : ces curseurs vous permettent de définir une plage pour la durée du clic, pouvant aller d’un clic court (« tick ») à un clic long (« scratch »). Lorsque vous jouez, la durée du clic est sélectionnée de manière aléatoire dans la plage définie. • Utilisez le paramètre Click min pour définir la durée de clic minimum. • Définissez ensuite la durée de clic maximum à l’aide du paramètre Click Max. Remarque : même si ces deux paramètres ont des valeurs identiques, il y a toujours une variation aléatoire du son. C’est cette variation qui fait que certains clics semblent plus courts que la valeur Clic min. • Curseur Click Color: permet de régler la couleur tonale du clic. Ils’agit d’une commande globale pour la partie aiguë du son de clic, qui a priorité (sans les remplacer) sur les variations de couleur de clic aléatoire. • Curseur Velo to Click (section Extended Parameters) : détermine la sensibilité à la vitesse des paramètres Click. Ce réglage est situé dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) . 166 Chapitre 7 EVB3 Paramètres EVB3 Condition Les limitations techniques des orgues électromécaniques à roues phoniques génèrent d’étranges artefacts sonores, tels que la diaphonie. Ces bizarreries font partie intégrante du charme du B3. Vous pouvez régler les paramètres décrits ci-après afin de redéfinir l’âge de votre EVB3. Paramètres Condition • Curseur Drawbar Leak : permet de régler le niveau de sortie minimum des tirettes, lorsqu’elles sont en position minimum. Même si toutes les tirettes sont à leur position minimum, les générateurs à roues phoniques du B3 continuent à tourner. Cela est du à une dispersion issue des roues phoniques, qui crée une diaphonie en sortie. • Avec une valeur 0, vous pouvez complètement éliminer cette dispersion. • Avec un réglage au maximum, elle sera beaucoup plus audible. • Curseur Leakage : ajoute un son découlant de la diaphonie desroues phoniques, incluant même celle des notes que vous n’avez pas jouées. Utilisez ce curseur pour ajouter un effet « voilé » au son de votre orgue. • Curseur Crosstalk : le système comprend deux roues phoniques, espacées de quatre octaves, sur chaque axe rotatif, pour chaque tonalité. Le signal produit par la roue inférieure contient une légère diaphonie audible, induite par la roue supérieure, et vice versa. Vous pouvez ajuster le niveau de cette diaphonie à l’aide du curseur Crosstalk. Pour en savoir plus, voir Génération sonore à roues phoniques. Cela est un point important à noter, car la diaphonie est audible uniquement sur certaines roues phoniques du B3, toute « perturbation » étant évitée lorsque vous jouez des accords. Chapitre 7 EVB3 167 • Curseur Random FM : si le générateur à roues phoniques d’un B3 fonctionne correctement, touteslesfréquencessont uniformes et accordées. Le système mécanique de rotation et d’entraînement desroues phoniques(ressorts, couplages et engrenages) est très efficace, mais il ne peut compenser les irrégularités dues à la poussière et à la graisse présentes dansles générateurs. Cette accumulation de saleté dansle mécanisme a pour conséquence que le bloc roues phoniques ne tourne pas de manière régulière sur son axe. Cette irrégularité est transmise aux roues phoniques elles-mêmes et, par conséquent, au son diffusé. Vous pouvez utiliser le curseur Random FM pour simuler cet effet, audible uniquement dans les plages haute fréquence. • Curseur Filter Age : les signaux haute fréquence des générateurs à roues phoniques du B3 transitent par des filtres passe-bande. La fréquence centrale de ces filtres varie à mesure que les condensateurs vieillissent. Vous pouvez utiliser le paramètre Filter Age filtre pour modifier les fréquences centrales des filtres, afin de simuler le vieillissement des condensateurs. Remarque : ceci colore le son d’une certaine instabilité due au paramètre Random FM et d’un certain bruit de fond résultant du paramètre Leakage. Ce paramètre influence également l’intonation de l’orgue, si vous utilisez la fonction Pitch Bend. Paramètres EVB3 Organ Les paramètres Organ permettent de modifier la qualité audio de base de l’EVB3. Paramètres Organ • Curseur Max Wheels : définit le nombre de roues phoniques pouvant être émulées. Réduisez cette valeur afin de minimiser la charge de traitement, car émuler la totalité des générateurs de roues phoniques (même inutilisées) consomme une partie importante de la puissance de traitement du processeur. Notez que cela réduit également quelques sons dominants ; conservez donc une valeur assez élevée si vous recherchez une simulation ultra-réaliste. 168 Chapitre 7 EVB3 • Curseur Tonal Balance : modifie l’équilibre aigus/basses desroues phoniques. Une valeur positive donne un son plus léger et éclatant. N’hésitez pas à essayer différents réglages pour Équilibre tonal et Égaliseur. Pour plus d’informations, voir Utilisation de l’égaliseur intégré de l’EVB3. • Curseur Shape : vous pouvez modifier de manière subtile la forme d’onde des sons émanant du générateur à roues phoniques, grâce au paramètre Shape. Alors que les générateurs sonores du Hammond produisent des ondes sinusoïdales pures (malgré quelques artefactstechniques), d’autres orgues produisent desformes d’onde distordues. Vous pouvez utiliser le paramètre Shape pour produire des sons ressemblant à ceux des orgues Farfisa, Solina ou Yamaha. Notez que le paramètre Shape est placé après les filtres qui suivent les générateurs d’ondes sinusoïdales. • Faites glisser le curseur Shape vers la droite pour obtenir un son plus éclatant (et plus fort). • Faites glisser le curseur Shape vers la gauche pour obtenir un son plus sourd (et moins fort). • Curseur Bass Filter : le son des tirettes du pédalier est souvent un peu trop « éclatant », dansle contexte musical global (combinaison pédalier/clavier inférieur/claviersupérieur). Pour remédier à cela, et pour supprimer les aigus du registre des basses, vous pouvez utiliser le curseur Bass Filter. En position maximum, vous n’entendrez plus que le son de basse fondamental de l’orgue dans le registre des basses. • BoutonUltra basses: lorsque ce paramètre est activé, une autre octave basse est ajoutée à la plage jouable des clavierssupérieur et inférieur. Ces octaves bassessupplémentaires, ajoutées à la possibilité de transposer indépendamment les deux claviers (voir Transposition de l’EVB3 par octaves), n’existent pas sur le B3 d’origine. • Curseur Lower Volume et Pedal Volume : faites glisser ces curseurs vers la gauche ou la droite pour définir des niveaux relatifs entre les claviers supérieur et inférieur et le pédalier. • Champ Perc : sélectionnez la valeur B (Si) uniquement pour simuler la restriction de la touche de présélection B (Si). Si vous préférez que la percussion soit toujours disponible, sélectionnez Toujours. Consultez Utilisation de l’effet EVB3 Percussion. Chapitre 7 EVB3 169 Paramètres EVB3 Sustain Sur les synthétiseurs, le temps mis par une note pour s’estomper totalement, une fois que la touche a été relâchée, est appelé temps de libération. L’EVB3 vous permet de contrôler ce paramètre, appelé sustain dans le jargon des organistes. Paramètres Sustain • Potentiomètres Up/Low/Ped : ces trois paramètres vous permettent de contrôler de manière indépendante la phase de Sustain (relâchement) des registres du clavier supérieur (Up), du clavier inférieur (Low) et du pédalier (Ped). • Bouton Mode : vous permet de choisir un comportement de soutien parmi les deux options disponibles : • Sélectionnez Smart Mode pour couper la phase de soutien des notesrelâchéeslorsque vous jouez de nouvelles notes. • Sélectionnez Normal Mode pour autoriser les phases de soutien polyphoniques ; toutes les notes relâchées sont soutenues, même si de nouvelles notes sont jouées. Remarque : le Mode intelligent permet de longs temps de soutien, même dans le registre des basses, ce qui entraîne habituellement des dissonances désagréables en Mode normal. 170 Chapitre 7 EVB3 Utilisation des effets EVB3 intégrés L’EVB3 est équipé d’un égaliseur trois bandes, d’un effet de réverbération, d’un effet wah-wah contrôlable par pédale et d’un effet de distorsion simulant le son d’un amplificateur à tube saturé. En outre, le signal peut être transmis via la fonction d’émulation de la cabine Leslie à système rotatif. Menu Effect Chain Paramètres Equalizer Paramètres Reverb Menu Effect Bypass Paramètres Tone et Drive du menu Distortion Paramètres Range et Bite du menu Wah Wah Menu CC Menu du mode Wah Wah Menu Distortion Type Paramètres Chain et Bypass Effects dans EVB3 Le cheminement du signal d’effet est le suivant : le signal de l’orgue passe par l’égaliseur, ainsi que par les effets wah wah et distortion. Ce signal traité passe ensuite par la réverbération et enfin par l’effet de rotor Leslie. Pour modifier le parcours des effets d’égaliseur, wah-wah et de distorsion µ Choisissez l’un des réglages suivants dans le menu local Effect Chaing : • Ég-Wah-Dist : ce parcours est idéal dans le cas d’un patch B3 classique : orgue doté d’un égaliseur, branché sur une pédale wah-wah et amplifié par un Leslie saturé. • Ég-Dist-Wah : le son de l’overdrive change si le signal d’entrée a été filtré, soit par l’égaliseur, soit par la pédale wah-wah. Placer l’égaliseur avant l’overdrive offre une plus grande flexibilité audio. Bien que le signal de sortie de l’effet de distorsion contienne toujours des éléments haute fréquence, ces éléments peuvent être supprimés en plaçant l’effet wah-wah en fin de chaîne. Chapitre 7 EVB3 171 • Wah-Dist-Ég : si vous désirez créer un son « hurlant » (obtenu par la distorsion de la sortie wah-wah), vous pouvez réduire sa « rudesse » en choisissant le parcours Wah-Dist-Ég. • Dist-Ég-Wah : choisissez ce parcours pour supprimer les sons dominants brutaux des distorsions extrêmes grâce à deux filtres : • Contourner : désactive les effets Égaliseur, Distorsion et Wah Wah. Les effets Distorsion, Wah Wah et Égaliseur peuvent être contournés séparément par le registre du pédalier. Cela évite la suppression de toutes les basses de l’orgue par l’effet wah-wah. Cela évite également les inconvénients d’une intermodulation indésirable lorsque vous utilisez l’effet Distorsion. Pour contourner le registrer du pédalier µ Sélectionnez Pédalier dans le menu local Effect Bypass. Si vous sélectionnez Aucun dans ce menu, la sortie de l’orgue est entièrement traitée. Utilisation de l’égaliseur intégré de l’EVB3 L’EVB3 est doté d’un égaliseur simple mais efficace, situé en bas à droite de la section grise, dans la partie supérieure de l’interface. • Potentiomètre EQ Low : permet de régler le niveau des basses fréquences. • Potentiomètre EQ Mid : permet de régler le niveau des fréquences moyennes. • Potentiomètre EQ High : permet de régler le niveau des fréquences élevées. • Potentiomètre EQ Level : permet de régler le niveau global de l’égaliseur. 172 Chapitre 7 EVB3 Utilisation de la réverbération intégrée de l’EVB3 La fonction Réverbération de l’EVB3 est placée tout à droite de la section grise, dans la partie supérieure de l’interface. • Menu localMode : vous avez le choix entre six algorithmes de réverbération : Box, Small, Medium, Large, Big et Spring. Sélectionnez Contourner pour désactiver la réverbération sans en modifier le niveau. • Potentiomètre Reverb : permet de définir le niveau de réverbération. Dans le cas d’une valeur nulle (0), la réverbération est désactivée. Utilisation de l’effet Réverbération avant/après l’émulation de la cabine à système rotatif La réverbération est toujours raccordée après les effets Égaliseur, Wah Wah et Distorsion, mais avant l’effet Rotor. Cela signifie que la réverbération sonne toujours comme si elle était jouée via les enceintes rotatives. Heureusement, vous pouvez contourner le problème en utilisant les boutons Reverb (dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) pour raccorder l’effet de réverbération avant (Pre) ou après (Post) l’effet de rotor. Chapitre 7 EVB3 173 Utilisation de l’effet Wah Wah intégré de l’EVB3 Le nom Wah Wah provient du son produit par cette pédale. Elle a été rendue célèbre par les guitaristes électriques à l’époque de Jimi Hendrix, généralement par un jeu de pédale. La pédale contrôle la fréquence de coupure d’un filtre passe-bande, passe-bas ou, plus rarement, d’un filtre passe-haut. La pédale wah-wah est également beaucoup utilisée avec l’orgue Hammond. • Menu local Mode : permet d’activer ou de désactiver l’effet wah-wah. Si vous choisissez Off, l’effet est désactivé. Il existe six types de filtres différents : • ResoLP : (Filtre passe-bas avec résonance) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-bas avec résonance. Si la pédale est en position minimum, seules les fréquences basses peuvent passer. • PHRéso : (Filtre passe-haut avec résonance) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-haut avec résonance. Si la pédale est en position minimum, seules les fréquences hautes peuvent passer. • Peak : dans ce mode, l’effet wah-wah fonctionne comme un filtre à crête (en cloche). Les fréquences proches de la fréquence de coupure sont accentuées. • CryB : ce réglage imite le son de distorsion d’une célèbre pédale wah-wah. • Morl : ce réglage imite le son d’une pédale wah-wah populaire, présentant une légère caractéristique de crête, • Morl2 : ce réglage imite le son de distorsion d’une pédale wah-wah populaire. Il présente un réglage Facteur Q (qualité) constant. • Menu local CC : cliquez sur ce menu pour affecter un contrôleur MIDI à l’effet Wah Wah. Consultez Contrôle MIDI de l’effet wah-wah dans l’EVB3. • Potentiomètre Range : contrôle la sensibilité de l’effet wah-wah aux données en provenance du contrôleur MIDI. Voir Contrôle MIDI de l’effet wah-wah dans l’EVB3, ci-dessous. • Potentiomètre Bite : améliore le signal autour de la fréquence de coupure. Le paramètre Bite est un paramètre de résonance de filtre, qui permet, avec des valeurs élevées, de donner un ton plus agressif au son wah-wah. 174 Chapitre 7 EVB3 Contrôle MIDI de l’effet wah-wah dans l’EVB3 Vous pouvez choisir n’importe quel numéro de contrôleur MIDI indiqué dans le menu local CC (ou dans le canal aftertouch) pour contrôler l’effet wah-wah. Vous pouvez également utiliser la fonction Apprendre pour indiquer à la fonction wah-wah comment répondre à un message entrant. Consultez Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre. Pour obtenir les performances les plus dynamiques et musicales possibles sur l’effet wah-wah, vous pouvez ajouter une pédale d’expression à votre clavier maître MIDI. Celui-ci transmet le changement de contrôle MIDI n°11, normalement utilisé pour contrôler le volume de l’EVB3 lorsque vous jouez. Pour utiliser une pédale d’expression afin de contrôler l’effet wah-wah 1 Placez le potentiomètre Expression (à gauche du potentiomètre Volume, dans la section grise) sur une valeur de zéro. 2 Choisissez le contrôleur n°11 dans le menu local CC. Cela vous permet de contrôler la fréquence de coupure wah-wah à l’aide de la pédale d’expression et élimine les procédures de configuration fastidieuses sur le clavier maître. Si voussautez l’étape 1, la pédale Expression sera utilisée pour contrôler à la foisle volume principal de l’EVB3 et l’effet wah-wah. Remarque : consultez le manuel de l’utilisateur de votre clavier pour en savoir plus sur l’utilisation d’une pédale d’expression. Pour définir la sensibilité de la pédale wah-wah sur les mouvements du contrôleur : µ Réglez le potentiomètre Range. Si vous souhaitez seulement avoir de légères altérations de la fréquence de coupure, choisissez une valeur faible. Utilisation de l’effet Distorsion intégré de l’EVB3 L’effet de distorsion simule un amplificateur à tube à deux étagessaturé. Son rôle principal étant la simulation de l’amplificateur Leslie, ou tout autre ampli pouvant être utilisé pour alimenter une cabine Leslie. • Menu local Type : vous avez le choix entre trois modèles d’amplificateur à tube différents: • Growl : l’option Growlsimule un amplificateur à tube deux phases. Cet effet ressemble beaucoup au modèle Leslie 122, partenaire traditionnel de l’orgue Hammond B3. Chapitre 7 EVB3 175 • Bity : bity est une réminiscence d’un ampli de guitare bluesy. • Nasty : l’option Nasty délivre des distorsions dures et convient aux sons agressifs. • Bouton Tone : altère la portion déformée (par distorsion) du son. Ceci n’a aucune effet sur la portion « sèche » du signal. Vous obtenez ainsi des sons très chauds et saturés qui ne deviendront pas « grinçants » si vous essayez de sortir plus d’aigus de l’instrument. • Potentiomètre Drive : définit le niveau de distorsion de l’overdrive. Le niveau de sortie est automatiquement compensé, il n’est donc pas nécessaire d’avoir un autre contrôle de volume général. Une valeur nulle (0) désactive le circuit Distorsion. Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 L’histoire de l’orgue Hammond ne serait pas complète si l’on ne parlait pas des cabines à système rotatif, fabriquées par Leslie. En fait, jouer de l’orgue B3 sans une telle cabine est plutôt considéré de nos jours comme un effet spécial. L’EVB3 simule non seulement la cabine elle-même, mais vous permet également de changer de position d’écoute en plaçant des microphones virtuels à plusieurs endroits. Certains modèles de cabine sont simulés de manière mathématique, tandis que d’autres utilisent un enregistrement réel des caractéristiquesspatiales de la cabine. Cette dernière méthode est appelée « réponse impulsionnelle ». Voustrouverez desinformations détaillées sur les réponses impulsionnelles dans la rubrique Concepteur spatial de l’aide des effets .MainStage Si vous n’êtes pas familiarisé avec les principes de fonctionnement des cabines à système rotatif Leslie, consultez Cabine Leslie. Commandes basiques de cabine à système rotatif dans l’EVB3 Les paramètres de base du rotor Leslie sont disponibles dansles deux interfaces de l’EVB3 (ouvert et fermé). Ils permettent d’accéder rapidement à une simulation de cabine Leslie. 176 Chapitre 7 EVB3 Les commandes de cabine avancées sont présentées dans la rubrique Commandes avancées de cabine à système rotatif dans l’EVB3. Contrôles avancés de haut-parleur rotor Contrôles de base de haut-parleur rotor • Bouton On/Off : permet d’activer et désactiver la simulation de cabine Leslie. • Boutons Rotor speed : permettent de contrôler la vitesse du rotor comme suit : • Chorale : mouvement lent. • Tremolo : mouvement rapide. • Brake : arrête le rotor. • Menu local Speed Control : ce menu local vous permet de définir les contrôleurs utilisés pour actionner à distance les boutons de vitesse du rotor. Consultez MIDI Control de l’effet EVB3 Rotor Speaker Speed. • Menu local Cabinet : ce menu vous permet de choisir un modèle de cabine parmi les options suivantes : • Désactivé : utilisez cette option pour désactiver l’effet rotor. • Wood : simule une Leslie équipée d’une enceinte en bois etsonne comme les modèles Leslie 122 ou 147. • Proline : simule une Leslie équipée d’une enceinte plus ouverte semblable au modèle Leslie 760. • Single : simule le son d’une Leslie équipée d’un rotor simple full-range. Le son ressemble au modèle Leslie 825. • Split : le signal de basses du rotor est dirigé plus vers la gauche, tandis que le signal des aigus du rotor est dirigé plus vers la droite. • Wood & Horn IR : ce réglage utilise une réponse d’impulsion d’une Leslie avec une enceinte en bois. • Proline & Horn IR : ce réglage utilise une réponse d’impulsion de Leslie équipée d’une enceinte plus ouverte. • Split & Horn IR : ce réglage utilise une réponse impulsionnelle de cabine Leslie avec le signal des basses du rotor dirigé plus vers la gauche et le signal des aigus du rotor plus vers la droite. Chapitre 7 EVB3 177 MIDI Control de l’effet EVB3 Rotor Speaker Speed Le menu Speed Control vous permet de définir les contrôleurs utilisés pour actionner à distance les boutons de vitesse du rotor. Vous avez le choix entre les options suivantes : • ModWheel : ce réglage utilise la roulette de modulation pour passer d’un réglage de vitesse à l’autre, parmi les trois réglages disponibles. L’option Brake se trouve vers la position centrale de la roulette de modulation, tandis que Chorale se trouve vers le bas et Trémolo dans le tiers supérieur de la course de la roulette. • ModWhl Toggle : change d’option dès que la roulette de modulation dépasse sa position centrale. Si la roulette passe par la position centrale en transition entre une position haute et une position basse, rien ne se passe. Ceci a été implémenté pour les claviers Roland ayant des roulettes de Pitch Bend et de modulation combinées. • ModWhl Temp : change d’option dès que la roulette de modulation dépasse sa position centrale, quel quoi soit le sens du mouvement (haut vers bas ou bas vers haut). Ceci a été implémenté pour les claviers Roland ayant des roulettes de Pitch Bend et de modulation combinées. • Touch : change d’option en cas de pression aftertouch sur les messages. Aucun changement d’option n’a lieu au relâchement de la pression aftertouch. • Touch Temp : change d’option en cas de pression aftertouch sur les messages. Un second changement d’option a lieu avec les messages de relâchement de la pression aftertouch. • SusPdl Toggle : change d’option lorsque que vous appuyez sur la pédale de soutien. Aucun changement d’option n’a lieu lorsque vous relâchez la pédale. • SusPdl Temp : change d’option lorsque que vous appuyez sur la pédale de soutien. Un second changement d’option a lieu lorsque vous relâchez la pédale de soutien. • CC #18 and CC #19 Toggle : change d’option lorsque vous appuyez sur le contrôleur n°18 ou n°19. Aucun changement d’option n’a lieu lorsque vous relâchez le contrôleur. • CC #18 and CC #19 Temp : change d’option lorsque vous appuyez sur le contrôleur n°18 ou n°19. Un second changement d’option a lieu lorsque vous relâchez le contrôleur n°18 ou n°19. Remarque : toutes les entrées du menu Speed Control (excepté ModWheel) permettent de passer de l’option Tremolo à la vitesse définie à l’aide des boutons Rotor Speed, c’est-à-dire entre Chorale et Tremolo, ou entre Brake et Tremolo. Si le bouton Tremolo Rotor Speed est réglé sur Tremolo, vous passez de l’option Tremolo à Chorale. Commandes avancées de cabine à système rotatif dans l’EVB3 Les paramètres avancés de la cabine à système rotatif Leslie sont disponibles (visibles) uniquement lorsque le « couvercle » de l’EVB3 est ouvert. Ils permettent d’effectuer le réglage de sons spécialisés et sont utiles dans la création d’émulations réalistes. 178 Chapitre 7 EVB3 Les paramètres de microphone sont présentés dans la rubrique Réglage des paramètres de microphone de l’EVB3. D’autres paramètres avancéssont abordés dansla rubrique Paramètres étendus de cabine Leslie de l’EVB3. Contrôles avancés de haut-parleur rotor Contrôles de base de haut-parleur rotor • Curseur Rotor Fast Rate : définit la vitesse maximum possible pour le rotor (Trémolo). La vitesse de rotation Trémolo est affichée en Hertz. • Curseur Acc/Dec Scale : les moteurs Leslie doivent accélérer et ralentir physiquement les diffuseurs mécaniques situés sur les haut-parleurs dans les cabines, pour cela leur puissance est limitée. Utilisez le paramètre Scale Acc/Dec pour déterminer le temps qu’il faut pour amener les rotors à une vitesse déterminée et le temps nécessaire pour les ralentir. • Placez le curseur complètement à gauche pour passer immédiatement à la vitesse présélectionnée. • Plus le curseur est à droite, plus les changements de vitesse seront longs à se mettre en place. • Dans sa position par défaut, soit 1, le comportement ressemble à celui de la cabine Leslie. • Champ Horn Deflector : une cabine Leslie comporte un double pavillon acoustique, muni d’un déflecteur à son embouchure. C’est lui qui fabrique le son Leslie. Certaines personnes préfèrent désactiver le déflecteur afin d’augmenter la modulation de l’amplitude et de diminuer la modulation de fréquence. Vous pouvez émuler cet effet à l’aide de l’EVB3 en utilisant le champ Horn Deflector pour activer ou désactiver le déflecteur. • Menu local Motor Ctrl : ce menu vous permet de sélectionner différentes vitesses pour les rotors des basses et des aigus : • Normal : les deux rotors utilisent la vitesse définie à l’aide des boutons de vitesse de rotor. • Inv : (mode inversé) : en mode Tremolo, le compartiment des graves tourne à grande vitesse, alors que le compartiment du pavillon acoustique tourne lentement. C’est l’inverse en mode Chorale. En mode Frein, les deux rotors sont arrêtés. Chapitre 7 EVB3 179 • 910 : le 910, ou mode Memphis, arrête la rotation du tambour des graves à basse vitesse, tandis que la vitesse du compartiment du pavillon acoustique peut être réglée. Cela peut être utile si vousrecherchez un son de bassessolide, maissouhaitez conserver un peu de mouvement dans les aigus. • Sync : l’accélération et la décélération du pavillon acoustique et des grosses caisses (basses)sont pratiquement identiques. On a l’impression que les deux sont entremêlés, mais cet effet n’est clairement audible que pendant l’accélération ou la décélération. Remarque : si vous sélectionnez Cabine simple dans le menu local Cabinet, le réglage Contrôle du moteur est inopérant, car il n’y a pas de rotors de basses et d’aigus séparés dans une cabine acoustique simple. Réglage des paramètres de microphone de l’EVB3 L’EVB3 est doté d’une paire de microphones modélisés, utilisés pour « capter » le son de la cabine Leslie. Ils servent principalement à spécifier la position d’écoute. • Curseur Mic Distance : détermine la distance entre les microphones virtuels (position d’écoute) et la cabine émulée. Les valeurs élevées donnent des sons plus sombres et moins définis. Ceci est typique des microphones lorsqu’ils sont placés trop loin de la source sonore. • CurseurMic Angle : définit l’image stéréo, en modifiant l’angle des microphonessimulés (valeur entre 0 et 180). 180 Chapitre 7 EVB3 Paramètres étendus de cabine Leslie de l’EVB3 Les paramètres Leslie suivantssontsitués dansla section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3. • Curseur Dry Level : permet d’ajuster le niveau du signal sec, ce qui peut également être utile si l’option Switches to dry sound est sélectionnée dans le menu Brake (voir ci-dessous). • Menu local Brake : contient deux réglages permettant de modifier le mode Brake de l’EVB3 : • Stops rotor : ce mode permet de ralentir progressivement le mouvement du rotor jusqu’à l’arrêt complet. • Switches to dry sound : ce mode permet de contourner l’enceinte du rotor lorsque celui-ci est arrêté, et ce en 1 seconde. Cela s’avère utile lorsque vous utilisez la roulette de modulation pour basculer entre les modes Trémolo (vitesse de rotor élevée) et Chorale (vitesse faible). Si vousrevenez ensuite au mode Brake, lesrotorssont ralentis au cours de la transition vers le son sec. • Curseurs Horn/Drum Brake Position : vous permet de définir une position d’arrêt exacte pour le système de rotation des basses ou du pavillon acoustique de la cabine Leslie, respectivement. Ceci ne pouvait être effectué sur la cabine Leslie d’origine, c’est pourquoi un pavillon acoustique était parfois pointé sur l’arrière de la cabine lors de son arrêt, avec pour résultat un son très désagréable. • Boutons Reverb : vous permet d’appliquer l’effet de réverbération avant (option Pre) ou après (option Post) l’effet du rotor. Réglage de l’EVB3 pour vos équipements MIDI MainStageL’EVB3 est un outil unique dans la gamme des instruments, car il peut être utilisé simultanément avec trois contrôleurs : une pédale MIDI (basse) et deux claviers MIDI 73 touches. Ceci permet d’imiter de manière réaliste la configuration à deux claviers de 73 touches et à un pédalier (2 octaves) d’un B3 original (dans le jargon des organistes). L’EVB3 peut, bien entendu, être utilisé avec un clavier MIDI standard de 61 touches (5 octaves de C (Do) à C (Do)). Pour en savoir plus, consultez Utilisation d’un contrôleur monocanal avec l’EVB3. Chapitre 7 EVB3 181 Étant donné que l’EVB3 émule également les touches de présélection du B3, l’octave la plus basse des claviers MIDI associés servira à la sélection des registres de l’EVB3. Ce comportement est identique à celui du B3 original, qui dispose d’un certain nombre de touches inversées (noires) dans l’octave la plus basse de chaque clavier. Ces touches inverséessont utilisées en tant que boutons, pour appeler lesregistrations présélectionnées (préréglage des tirettes harmoniques). Heureusement, vous n’avez pas besoin d’un tournevis pour changer de registration sur l’EVB3, et ceci est une vraie amélioration par rapport à l’original. Vous trouverez plus de détails sur le réglage et l’utilisation des contrôleurs de tirettes MIDI dédiés dansla rubrique Attribution d’un contrôleur MIDI dansl’EVB3 (et lesrubriques suivantes). Utilisation de contrôleurs multiples ou multicanal avec l’EVB3 L’EVB3 reçoit les notes provenant des claviers supérieur et inférieur et du pédalier sur trois canaux MIDI consécutifs, définis comme suit par défaut : • canal MIDI 1 : son du clavier supérieur. • canal MIDI 2 : son du clavier inférieur. • canal MIDI 3 : son du pédalier. Cela vous permet de jouer simultanément avec trois contrôleurs MIDI sur l’EVB3. Vous pouvez également utiliser un clavier maître à un seul clavier (avec plusieurs zones clavier ou une fonction de division de clavier) qui envoie les données sur différents canaux MIDI, afin de gérer simultanément l’ensemble des sons de l’EVB3. Vous pouvez utiliser l’une de vos entrées d’interface MIDI pour vos claviers maîtres ou votre pédalier. Quels que soient les appareils utilisés en entrée, le seul facteur important est le canal d’émission MIDI. Remarque : veuillez consulter le manuel de l’utilisateur de votre clavier maître poursavoir comment définir les zones et les divisions, et régler le canal d’émission MIDI, souvent appelé canal TX (TX Channel). Modification des canaux MIDI sur l’EVB3 Vous pouvez également configurer l’EVB3 de manière à ce qu’il utilise des canaux MIDI autres que ceux définis par défaut. Pour ce faire, utilisez le paramètre « Basic Midi Ch » de la section Controls. Ce paramètre attribue un canal de réception MIDI au clavier supérieur. • Le numéro du canal de réception du clavier inférieur est toujours supérieur d’une unité à celui attribué au clavier supérieur . • Le numéro du canal de réception du pédalier est toujours supérieur de deux unités à celui attribué au clavier supérieur. 182 Chapitre 7 EVB3 Par exemple, si vous définissez le paramètre « Basic Midi Ch » sur 8, le canal de réception du clavier supérieur sera le canal 8, celui du clavier inférieur sera le canal 9 et le celui du pédalier sera le canal 10. Pour régler le paramètre Basic MIDI Channel 1 Sélectionnez View > Controls dans la fenêtre du module de l’EVB3. 2 Déplacez comme vous le souhaitez le curseur Basic Midi Ch (dans la section General, en bas à droite). Important : ce paramètre fonctionne uniquement si le paramètre Keyboard Mode (voir rubrique suivante) est défini sur Multi. Si le paramètre « Basic Midi Ch » est défini sur 16, le clavier inférieur reçoit les données sur le canal 1 et le pédalier sur le canal 2. Si le paramètre « Basic Midi Ch » est défini sur 15, le clavier inférieur reçoit les données sur le canal 16 et le pédalier sur le canal 1. Remarque : ce paramètre peut s’avérer utile dans le cas de performances en live, en particuliersi vous avez besoin de changer le canal d’émission MIDI de votre clavier maître, afin d’utiliser d’autres générateurs sonores. Utilisation d’un contrôleur monocanal avec l’EVB3 Si vous ne disposez pas d’un clavier maître permettant les transmissions multicanal, vous pouvez utiliser un clavier MIDI capable de transmettre sur un canal MIDI unique. Vous pouvez utiliser les paramètres EVB3 Split pour diviser le clavier en un registre supérieur, un registre inférieur et un registre pédalier, en jouant dans différentes zones du clavier. Pour régler le mode du clavier µ Cliquez plusieurs fois dans le champ Keyboard Mode, en bas au centre de l’interface, jusqu’à ce que l’option Split apparaisse. Cliquez ici pour choisir le mode clavier. Définissez ici les points de scission supérieur et inférieur. Vous pouvez définir l’étendue des zones de clavier à l’aide des paramètres UL Split (division clavier supérieur/inférieur) et LP Split (division clavier inférieur/pédale), conjointement avec les boutons Set. Chapitre 7 EVB3 183 Pour configurer la zone de clavier, effectuez l’une des opérations suivantes : µ Cliquez sur le bouton Set approprié (ils’affiche en orange ) et appuyez sur la note souhaitée (point de division) sur le clavier MIDI. µ Faites glisser le champ de valeur. Si vous sélectionnez la même valeur pour les deux points de division, le clavier inférieur est désactivé. Si le paramètre LP Split est défini sur une valeur supérieure à celle du paramètre UL Split, l’autre point de division est déplacé (et vice versa). Transposition de l’EVB3 par octaves Vous pouvez transposer individuellement les registres du clavier supérieur, du clavier inférieur et du pédalier d’une ou deux octaves, vers le haut ou vers le bas, à l’aide des menus locaux Trans UM, Trans LM, or Trans Ped. Ces transpositions s’effectuent indépendamment du paramètre Tune globale ou des fonctions de transposition de l’application hôte. En outre, elles n’ont aucun impact sur les touches de présélection. Cette fonctionnalité est particulièrement importante lorsque vous souhaitez utiliser la commutation des touches de présélection (voir Utilisation des touches de présélection de l’EVB3) avec le mode clavier Diviser. Attribution d’un contrôleur MIDI dans l’EVB3 La fonction d’attribution des contrôleurs MIDI vous permet de contrôler l’EVB3 à l’aide d’un contrôleur MIDI externe ou d’une application hôte telle que .MainStage Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre La roulette Morphing et l’effet Wah Wah vous permettent d’attribuer un contrôleur MIDI en utilisant la fonction d’apprentissage. Pour utiliser la fonction d’apprentissage avec un contrôleur 1 Sélectionnez -Apprendre- dans le menu local CC du paramètre souhaité. 184 Chapitre 7 EVB3 Si ce réglage est actif, le paramètre est attribué au premier message de données MIDI entrant approprié. 2 Accédez au contrôleur souhaité. Le mode Learn comprend une fonction d’expiration : si l’EVB3 ne reçoit pas de message MIDI dans les 20 secondes, le paramètre revient à son attribution de contrôleur MIDI d’origine. Remarque : le contrôleur actif/attribué apparaît coché. Sélection du mode MIDI de l’EVB3 Le paramètre MIDI Mode détermine la façon dont lestirettes EVB3 répondent aux messages de changement de contrôle MIDI à distance. Normalement, vous n’avez pas à modifier quoi que ce soit ici. Cliquez ici pour choisir un mode MIDI. En revanche, si vous disposez d’un orgue MIDI équipé de tirettes, vous pouvez utiliser les tirettes physiques afin de contrôler l’EVB3. La plupart des orgues à tirettes harmoniques utilisent un numéro de changement de contrôle MIDI indépendant pour chaque tirette. Vous trouverez dans les rubriques suivantes une liste des attributions de numéro de changement de contrôle pour les modes MIDI indiqués dans le tableau ci-dessous. Pour choisir un mode MIDI µ Cliquez plusieurs fois dans le champ MIDI Mode, en bas au centre de l’interface, jusqu’à ce que le mode souhaité apparaisse. Mode Description Chaque tirette correspond à un numéro de changement de contrôle MIDI spécifique, commençant par CC n°70. Les paramètres autres que ceux concernant les tirettes peuvent être définis à l’aide des messages de changement de contrôle d’un numéro inférieur à CC n°118 RK Chapitre 7 EVB3 185 Mode Description Toutes les tirettes de l’EVB3 sont contrôlées par les numéros de changement de contrôle MIDI entre les n°80 et 82. Les valeurs sont mappées de manière intelligente aux tirettes. Cette technique ne permet pas une résolution particulièrement élevée (tout comme le B3 d’origine), mais elle fonctionne bien. L’orgue Hammond-Suzuki XB-2 utilise cette méthode d’assignation des contrôleurs, afin de vous permettre de contrôler à distance les tirettes de l’EVB3. Outre pour la prise en charge des tirettes, vous pouvez utiliser les commandes suivantes des Hammond Suzuki XB-1, XK-2 et XK-3 pour contrôler à distance l’EVB3 : • Leslie : Brake/On/Fast • Vibrato et Chorus • Percussion (2ème/3ème/léger/rapide) Une liste de toutes les attributions de numéro de changement de contrôle est disponible dans la rubrique Mode MIDI EVB3 : HS. HS Les paramètres Instruments natifs du B4 sont répliqués, ce qui vous permet d’utiliser le contrôleur de tirette Instruments natifs du B4D. NI L’EVB3 répond aux messages de changement de contrôle provenant du clavier Nord Electro II de Clavia. NE Désactivé L’EVB3 ne répond pas aux messages de tirette MIDI. Mode MIDI EVB3 : RK Ce tableau décrit les attributions de contrôleur MIDI lorsque le Mode MIDI est défini sur RK. Sélectionnez ce réglage si vous utilisez un modèle de la gamme Roland VK ou un orgue à tirettes Korg CX-3 comme contrôleur à distance pour l’EVB3. Numéro de contrôleur Mode MIDI RK : paramètre assigné 70 Drawbar 16’ 71 Drawbar 5 1/3’ 72 Drawbar 8’ 73 Drawbar 4’ 74 Drawbar 2 2/3’ 75 Drawbar 2’ 76 Drawbar 1 3/5’ 77 Drawbar 1 1/3’ 78 Drawbar 1’ Rotor Cabinet 80, 92 Chorale/Brake/Tremolo 81 Chorale/Brake Reverb 82 Reverb Level 186 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI RK : paramètre assigné Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 87 Chorus Vibrato Type Percussion 94 on/off 95 2nd/3rd 102 Percussion Volume 103 Percussion Time Equalizer 104 EQ Low 105 EQ Mid 106 EQ Hi 107 EQ Level Wah 108 Wah Mode 109 Wah Bite Distorsion 110 Type de distorsion 111 Distortion Drive 112 Distortion Tone Click Levels 113 Click On Level 114 Click Off Level Balance 115 Main Volume 116 Lower Volume 117 Pedal Volume Rotor Fast Rate 118 Rotor Fast Rate Mode MIDI EVB3 : HS Ce tableau liste les assignations des contrôleurs MIDI lorsque le mode MIDI est réglé sur HS. Ce réglage correspond à la répartition des contrôleurs des orgues Hammond XB. Chapitre 7 EVB3 187 Numéro de contrôleur Mode MIDI HS : nom du paramètre 80 All Upper Drawbars 81 All Lower Drawbars 82 Pedal Drawbars, Scanner Vibrato, Bass Filter Rotor Cabinet Leslie On Rotor Cabinet on/off Leslie Fast Chorale/Brake Leslie Brake Contrôle la fonctionnalité du frein de l’enceinte du rotor Vibrato Vibrato On Upper Vibrato on/off (XK-3 uniquement) Vibrato Mode Vibrato Type (V1 – C3, XK-3 uniquement) 87 Chorus Vibrato Type Drive Distortion Drive Reverb Level Reverb Level Percussion Harmonic, le 3ème harmonique a priorité sur le 2ème. La conversion des boutons XK vers l’EVB3 s’effectue comme suit : • 2e désactivé, 3e désactivé x EVB3 : Percussion désactivée • 2e désactivée, 3e activée x EVB3 : 2e Harmonic • 2e désactivée, 3e activée x EVB3 : 3e Harmonic • 2e désactivée, 3e activée x EVB3 : 3e Harmonic Perc 2nd and Perc 3rd Sélectionne un temps de chute prédéfini pour une chute lente ou rapide. Perc Fast Sélectionne un niveau prédéfini pour une percussion normale ou légère. Perc Soft Vibrato Mode Sélectionne Vibrato Off, V1/V2/V3 ou C1/C2/C3 (XK-2 uniquement). Permet de basculer entre Vibrato et Chorus Vibrato (XK-2 uniquement). Vibrato VC Mode MIDI EVB3 : NI Ce tableau liste les assignations des contrôleurs MIDI lorsque le mode MIDI est réglé sur NI. Ce réglage correspond à la répartition des contrôleurs Native Instruments B4D. Numéro de contrôleur Mode MIDI NI : nom du paramètre 12 Upper Drawbar 16’ 13 Upper Drawbar 5 1/3’ 14 Upper Drawbar 8’ 15 Upper Drawbar 4’ 16 Upper Drawbar 2 2/3’ 17 Upper Drawbar 2’ 188 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI NI : nom du paramètre 18 Upper Drawbar 1 3/5’ 19 Upper Drawbar 1 1/3’ 20 Upper Drawbar 1’ 21 Lower Drawbar 16’ 22 Lower Drawbar 5 1/3’ 23 Lower Drawbar 8’ 24 Lower Drawbar 4’ 25 Lower Drawbar 2 2/3’ 26 Lower Drawbar 2’ 27 Lower Drawbar 1 3/5’ 28 Lower Drawbar 1 1/3’ 29 Lower Drawbar 1’ Vibrato 31 Upper Vibrato on/off 30 Lower Vibrato on/off Brightness Vibrato Attack Time Chorus Intensity Percussion Sostenuto Percussion on/off Temps de libération Percussion Harmonic (2ème/3ème) Sound Variation Percussion Volume Harmonic Content Percussion Time Equalizer 90 EQ Low 70 EQ Mid 5 EQ High Distortion/Click 76 Distortion Drive 78 Distortion Tone 75 Click On Level Leslie Pan MSB Microphone Angle 3 Microphone Distance GP 8 Leslie Accelerate/Decelerate Chapitre 7 EVB3 189 Numéro de contrôleur Mode MIDI NI : nom du paramètre GP 7 Leslie Fast ModWheel MSB Leslie Speed Contrôle la fonctionnalité du frein : si la valeur = 0, la cabine Leslie passe en mode Frein. Toutes les autres valeurs règle la Leslie sur la vitesse précédente. 68 Mode MIDI EVB3 : NE Ce tableau liste les assignations des numéros de messages de changement de contrôle MIDI lorsque le mode MIDI est réglé sur NE. Ce réglage correspond à la répartition des contrôleurs Clavia Nord Electro 2. Numéro de contrôleur Mode MIDI NE : nom du paramètre 16 Upper Drawbar 16’ 17 Upper Drawbar 5 1/3’ 18 Upper Drawbar 8’ 19 Upper Drawbar 4’ 20 Upper Drawbar 2 2/3’ 21 Upper Drawbar 2’ 22 Upper Drawbar 1 3/5’ 23 Upper Drawbar 1 1/3’ 24 Upper Drawbar 1’ 70 Lower Drawbar 16’ 71 Lower Drawbar 5 1/3’ 72 Lower Drawbar 8’ 73 Lower Drawbar 4’ 74 Lower Drawbar 2 2/3’ 75 Lower Drawbar 2’ 76 Lower Drawbar 1 3/5’ 77 Lower Drawbar 1 1/3’ 78 Lower Drawbar 1’ Chorus/Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 84 Mode Vibrato (la sélection va de V1 à C3, à l’exception de C0) Percussion 87 Percussion on/off 190 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI NE : nom du paramètre 88 Percussion Volume (soft/normal) et Time (short/long) 95 Percussion Harmonic (2ème/3ème) Equalizer 113 EQ High 114 EQ Low Distortion/Click 111 Distortion Drive Leslie GP 6 on/off GP 7 Leslie Speed GP 8 Contrôle la fonctionnalité du frein Synthèse additive à l’aide des tirettes Le Hammond B3 est l’orgue à tirettes classique. Comme avec un orgue acoustique à tuyaux, les registres (tirettes ou tirants dans le cas de l’orgue à tuyaux) peuvent être tirés afin de les engager. Mais contrairement à l’orgue à tuyaux, le B3 permet un mélange progressif de tous les registres de tirettes. Plus vous amenez les tirettes vers vous, plus la tonalité correspondante sera forte. En dépit de ses caractéristiques, telles que les bruits de touche ou clics, les variables d’intonation, la distorsion et la diaphonie (qui sont simulées par l’EVB3), le fait de jouer une seule note, sur un seul registre, donne un son sinusoïdal pur. Le mélange de tons sinusoïdaux selon différents harmoniques donne un spectre plus complexe, appelé « synthèse additive ». Les orgues, même les orgues à tuyaux, peuvent être considérés comme des synthétiseurs additifs. Il existe toutefois plusieurs limitations qui doivent être prises en compte avant de considérer l’instrument de cette manière. D’un autre côté, ces limitations et défauts constituent le caractère d’un instrument de musique réel, tout ce qui fait son charme. Le nom des tirettes provient de la longueur des tuyaux de l’orgue, mesurée en pied (’). Cette convention de dénomination est toujours utilisée avec les instruments de musique électroniques. • Diviser par deux la longueur d’un tuyau double sa fréquence. • Doubler les résultats de fréquence dans une transposition d’une octave vers le haut. Chapitre 7 EVB3 191 Le registre le plus bas (16', complètement à gauche, tirette brune) et les octaves les plus aiguës (8', 4', 2' et 1', tirettes blanches) peuvent être librement mélangées, dans toutes les combinaisons possibles.16' est communément appelé sous-octave. Si nous considérons la sous-octave comme la tonalité fondamentale, l’octave au-dessus de 8' est la deuxième harmonique, 4' est la quatrième, 2' la huitième et 1' la seizième. Avec le registre 5 1/3', la deuxième tirette brune, vous pouvez ajouter la troisième harmonique. Il s’agit de la quinte au-dessus de 8'. En général, les tirettes sont classées en fonction de la tonalité, à une exception près. La deuxième tirette (5 1/3') donne une quinte plus haut que la troisième. Voir Effet résiduel pour en savoir plus. Le registre 2 2/3' génère la sixième harmonique, le registre 1 3/5' la dixième et le registre 1 1/3' la douzième. Ainsi, un orgue électromécanique à roues phoniques donne le choix entre les registres/harmoniques suivants : 1 (16'), 2 (8'), 3 (5 1/3'), 4 (4'), 6 (2 2/3'), 8 (2'), 10 (1 3/5'), 12 (1 1/3') et 16 (1'). Comme vous pouvez le constater, le spectre harmonique est quand même assez complet. Ceci est l’une des principales raisons à l’utilisation courante des effets d’overdrive et de distorsion sur les orgues électromécaniques à roues phoniques : ils enrichissent le spectre harmonique en générant davantage d’harmoniques. Remarque : 2 2/3' est une quinte au-dessus de 4'. 1 3/5' est une tierce majeure au-dessus de 2'. 1 1/3' est une quinte au-dessus de 2'. Dans les basses, cela conduit à des sons inharmoniques, en particulier dansle jeu de lignes de basse en clé mineure. C’est pourquoi l’association des registres 2', 1 3/5' et 1 1/3'donne un accord majeur. Effet résiduel L’effet résiduel est un phénomène psychoacoustique. Les êtres humains peuvent percevoir la hauteur d’une note, même si la tonalité fondamentale en est complètement absente. Si vous tirez tous les registres de tirettes d’un orgue, excepté le fondamental (16’), vous percevrez encore la même hauteur tonale. Le son devient plus ténu, avec moins de basse et moins de chaleur, mais la hauteur reste la même. Si nous n’entendions pas de cette manière, il nous serait impossible d’écouter de la musique sur un poste de radio bon marché. En effet, le haut-parleur de ce type d’appareil ne restitue jamais la fondamentale de la ligne de basse, qui a une fréquence bien en dessous du spectre que le haut-parleur peut émettre. Le réglage des registres de tirettes implique souvent ce phénomène psychoacoustique. Dans les octaves les plus basses, l’association des tirettes sinusoïdales 8' et 5 1/3' crée l’illusion d’un son 16', bien que la basse fréquence en soit absente. 192 Chapitre 7 EVB3 Les anciens orgues à tuyaux utilisaient également l’effet résiduel, en combinant deux tuyaux plus petits, éliminant la nécessité d’avoir des tuyaux géants, longs, lourds, gourmands en air et très onéreux. Cette tradition est perpétuée avec les orgues modernes et c’est pour cette raison que la tirette 5 1/3' est placée sous la tirette 8' : la tirette 5 1/3' tend en effet à créer l’illusion d’une hauteur tonale située une octave en-dessous de 8'. Génération sonore à roues phoniques La génération sonore à roues phoniques ressemble à celle d’une sirène. Bien, sûr, il n’y a pas d’air à souffler par les trous d’une roue tournante. À la place, c’est un capteur électromagnétique, comme celui d’une guitare électrique qui est utilisé pour capturer le son. Une roue dentée métallique, appelée roue phonique, tourne au bout d’une tige aimantée. La denture de la roue provoque des variations dans le champ magnétique, induisant une tension électrique. Cette tension (ce son) est ensuite filtrée, amplifiée, puis on lui ajoute du vibrato et de l’expression, et enfin le signal résultant est encore amplifié. Un long axe est actionné par un moteur CA synchrone. 24 pignons de 12 tailles différentes sont fixés sur l’axe. Ces pignons actionnent les roues phoniques. La fréquence dépend des rapports de vitesse et du nombre de dents des roues. L’orgue Hammond est accordé au tempérament presque exact. Comme pour les orgues à tuyaux disposant de registres multiplexés, l’orgue Hammond utilise certains générateurs pour plusieurstâches. Certainesroues haute fréquence servent de fondamentale pour les notes aiguës, et produisent des harmoniques pour les notes graves. Ceci a un impact positif sur le son global de l’orgue, évite qu’il soit désaccordé et stabilise les niveaux entre les octaves. Bref historique de l’orgue Hammond Trois inventions ont inspiré Laurens Hammond (1895–1973), un fabricant d’horloges électriques, pour construire et commercialiser un orgue électromécanique compact permettant une génération sonore par roues phoniques. Le Telharmonium de Thaddeus Cahill a été son inspiration musicale, les méthodes de production de masse de Henry Ford et son propre moteur à horloge synchrone ont été les deux autres facteurs. Chapitre 7 EVB3 193 Le Telharmonium (fabriqué aux alentours de 1900) était le premier instrument de musique utilisant des techniques électromécaniques de génération sonore. Ces générateurs à roues phoniques immenses remplissaient un immeuble de deux étages à New York. Pendant une courte période à cette époque, les abonnés pouvaient écouter la musique produite par le Telharmonium sur le réseau téléphonique new-yorkais (le système de streaming audio du moment). Le seul moyen d’amplification était le diaphragme mécanique du téléphone, car l’amplificateur à tube adéquat et des haut-parleurs acceptables n’étaient pas encore inventés. Le Telharmonium a été un véritable flop commercial, mais son statut historique de précurseur des instruments de musique électroniques modernes est indéniable. Le Telharmonium a également introduit les principes de la synthèse électronique additive (voir Synthèse additive à l’aide destirettes). Laurens Hammond a commencé à produire des orgues en 1935, à Chicago (Illinois), en utilisant la même méthode de génération sonore. Toutefois, ses générateurs étaient plus petits et les registres moins nombreux. Le brevet de cet orgue modèle A date de 1934. Hammond détient également le brevet de la réverbération à ressort électromécanique, technique que l’on trouve dans d’innombrables amplificateurs de guitare encore aujourd’hui ! L’orgue Hammond B3 a quant à lui été fabriqué entre 1955 et 1974. Il s’agit du modèle d’orgue Hammond préféré des musiciens de jazz et de rock, notamment Fats Waller, Wild Bill Davis, Brother Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve Winwood, Joey DeFrancesco et Barbara Dennerlein. En plus du B3, il existe un certain nombre d’instruments Hammond, connus sous le nom de « spinet » (M3, M100, L100, T100). Des modèles à console plus grands, dont un grand nombre ont été conçus poursatisfaire les besoins des églises et desthéâtres aux États-Unis (H100, X66, X77, E100, R100, G-100), ont également été fabriqués. La production d’orgues électromécaniques a cessé en 1974. Par la suite, la société Hammond n’a fabriqué que des orgues purement électroniques. Le nom Hammond vit aujourd’hui au travers de la gamme d’orgues à tirettes électroniques Hammond-Suzuki, qui est née en 2002 avec la commercialisation d’un modèle B3 numérique original, reprenant les fonctions et le design du B3 classique, excepté en ce qui concerne le poids! Ce modèle, ainsi que d’autres plus récents, peut être associé à des cabines à système rotatif mécanique également fabriquées par la société. Cabine Leslie Don Leslie a mis au point ses cabines à système rotatif (rotor) en 1937, puis a commencé à les commercialiser en 1940. Laurens Hammond n’était pas du tout emballé par ce type d’enceinte. 194 Chapitre 7 EVB3 Le principe de Leslie consistait à simuler plusieurs emplacements danslestuyaux (comme ceux d’un orgue), donnant une nouvelle perception spatiale de chaque note. Les cabines à système rotatif devaient simuler cet effet, et le sens de l’espace qu’elles transmettaient était incomparable, lorsqu’elles étaient placées à côté de n’importe quel haut-parleur fixe. Les ondulations périodiques du son et du volume, et le vibrato causé par l’effet Doppler (voir ci-dessous), ne constituent pastout le son Leslie, il y a aussi un effet d’espace ! Une cabine Leslie classique comprend deux amplificateurs, un amplificateur des aigus avec pavillons (dont un seul fonctionne, l’autre ne servant que de contrepoids) et un amplificateur des basses. Les pavillons de l’amplificateur des aigus et l’écran acoustique de l’amplificateur des basses sont physiquement entraînés par des moteurs électriques. À mesure que les enceintes pivotent vers l’avant de la cabine (position d’écoute), puis vers l’arrière de la cabine, vous entendez un « effet Doppler », c’est-à-dire que les sons deviennent plus forts et plus clairs à mesure que la position change. Pour vous donner une idée du rendu de cet effet, imaginez le son d’un train qui passe devant vous alors que vous vous trouvez sur le quai. À l’approche, le son est assourdi ; mais il devient de plus en plus fort et clair à mesure que le train approche et passe ; il redevient ensuite assourdi lorsque le train s’éloigne de vous. L’écran acoustique/l’amplificateur rotatif peut être réglé sur deux vitesses : vitesse rapide/trémolo ou vitesse lente/chorale (il peut également être complètement arrêté à l’aide d’un frein mécanique). La transition entre ces deux vitesses ou l’utilisation d’une vitesse fixe produit les effets « Leslie » caractéristiques : vibrato, trémolo et chœur. La première cabine Leslie, le modèle 30, ne disposait pas de chorale, juste un trémolo et un arrêt. L’idée de l’effet Chorale (qui est venue plus tard) est née d’un désir d’ajouter un vibrato à l’orgue. Cet effet, qui offre beaucoup plus qu’un simple vibrato, a été introduit sur le marché dans les modèles 122/147. À ce moment-là, Leslie a aussi ajouté la mention « Voice of the pipe organ » (voix de l’orgue à tuyaux) sur ses enceintes. Ce n’est qu’en 1980 que les deux noms de sociétés et de marques se sont associés, six ans après la construction du dernier orgue à roues phoniques. Les enceintes rotatives Leslie sont toujours fabriquées aujourd’hui, par la société Hammond-Suzuki. Chapitre 7 EVB3 195 L’EVD6 imite le Clavinet Hohner D6 classique. Le son émis par le D6 s’apparente à du funk, mais les années 1970 ont également vu l’apparition de sons rock, pop et jazz électrique joués par des artistes tels que Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner ou encore les Commodores. Si vous avez écouté « Superstition » ou « Higher Ground » par Stevie Wonder, alors vous savez que le D6 est le plus funky des instruments qui existent ! Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'EVD6 (p 197) • Présentation de l’interface EVD6 (p 199) • Utilisation des paramètres EVD6 Model (p 200) • Utilisation des paramètres globaux de l’EVD6 (p 205) • Utilisation des paramètres Filter et Damper EVD6 (p 207) • Utilisation des paramètres Pickup EVD6 (p 208) • Utilisation des effets intégrés de l’EVD6 (p 211) • Utilisation des paramètres EVD6 Output (p 215) • Utilisation des paramètres EVD6 MIDI Control (p 216) • Brève histoire du Clavinet (p 218) Achitecture et fonctionnalités de l'EVD6 Le moteur de synthèse EVD6 améliore le son sur le Clavinet Hohner D6 car il est utilisé avec une sortie stéréo (et non mono) et il est dépourvu de composants bruyants qui compromettent la qualité du son. Le clavier de 60 touches (F à E) du D6 d’origine a été étendu à un clavier MIDI complet (127 notes). 197 EVD6 8 L’EVD6 utilise un moteur de synthèse de modélisation de composants, qui simule non seulement lessons de base du D6, mais également les divers bourdonnements des cordes et clics de touches, ainsi que la tonalité des capteurs présents dansl’instrument d’origine. L’EVD6 simule avec précision le « pincement » et le « mordant » de la phase d’attaque, ainsi que le bruit « adhérant » des coussinets des marteaux. Pendant que vous jouez, le générateur sonore réagit si doucement, avec musicalité et précision que vous pouvez presque sentir les cordes sous votre clavier. L’EVD6 offre des options étendues de commande audio. Vous pouvez modifier radicalement le son de l’instrument, ce qui vous permet de simuler un clavinet ancien ou de créer des timbres vraiment uniques, qui n’ont pas grand chose à voir avec le son d’un clavinet. L’EVD6 intègre également un processeur d’effets, qui produit des effets wah wah classiques, ainsi que des effets de modulation et de distorsion, souvent utilisés avec l’instrument d’origine. Les effets ont été modelés sur des pédales d’effets classiques et adaptés pour une utilisation optimisée avec l’EVD6. Pour plus d’informations sur la synthèse de modélisation de composants, consultez Synthèse par modélisation des composantes. 198 Chapitre 8 EVD6 Présentation de l’interface EVD6 La face avant de l’EVD6 peut être divisée en plusieurs sections principales, à savoir : Paramètres Effect Paramètres de modèle Paramètre Damper Menu Model Paramètres des capteurs (Pickup) Paramètres Filter Paramètres Output Paramètres MIDI Control Paramètres globaux Paramètres des capteurs (Pickup) • Menu et paramètres de modèle : vous permettent de choisir et de définir le son de base de l’EVD6. Consultez Utilisation des paramètres EVD6 Model. • Paramètres globaux : les paramètres globaux déterminent certains aspects, tels que l’accord de l’EVD6. Consultez Utilisation des paramètres globaux de l’EVD6. • Paramètres Filter et Damper : ces commandes sont utilisées pour le filtrage et l’atténuation de base du son. Consultez Utilisation des paramètres Filter et Damper EVD6. • Paramètres Pickup : une représentation visuelle, librement ajustable, de la position des capteurs est intégrée (et contrôlée) dans cette section. Les différents capteurs peuvent être activés ou désactivés à l’aide des sélecteurs Capteur. Consultez Utilisation des paramètres Pickup EVD6. • Paramètres Effect : les paramètres liés aux effets intégrés se situent dans cette partie de l’interface EVD6. Consultez Utilisation des effets intégrés de l’EVD6. • ParamètresOutput: cette section permet de définir la balance stéréo, ainsi que le niveau de sortie. Consultez Utilisation des paramètres EVD6 Output. • Paramètres MIDI Control : c’est dans cette zone de l’interface que vous pouvez affecter des contrôleurs MIDI à différents paramètres EVD6. Vous pouvez également y régler la courbe de vélocité du clavier. Consultez Utilisation des paramètres EVD6 MIDI Control. Chapitre 8 EVD6 199 Utilisation des paramètres EVD6 Model L’EVD6 est un instrument modelé physiquement, dans lequel les différents aspects du D6 d’origine sont analysés et recréés mathématiquement. Cela concerne notamment les matériaux utilisés pour les cordes et la longueur de ces dernières, l’âge et l’état des marteaux, etc. Avec le moteur sonore EVD6, vous êtes maître de ces éléments et pouvez les utiliser pour créer des émulations extrêmement détaillées et précises, non seulement du D6, mais également d’autres instruments à cordes, comme les clavecins et les guitares. Ces paramètres vous permettent également de créer tout un éventail de sons qui diffèrent fortement du clavinet. Cette rubrique aborde le choix d’un modèle d’instrument, ainsi que les paramètres d’édition du modèle. Choix d’un modèle EVD6 Le menu local Model vous permet de choisir un type de ton de base ou un modèle. Pour ouvrir le menu local Model, cliquez sur le nom du modèle, à gauche du potentiomètre Level. Chaque modèle possède ses propres caractéristiques tonales, ainsi que sa propre structure harmonique, afin de créer des sons très différents. Les différents modèles sont des instruments immédiatement utilisables, sans qu’aucune autre modification ne soit nécessaire. Bien évidemment, vous êtes libre de modeler les caractéristiquestonales de n’importe quel modèle chargé, grâce aux paramètres d’édition des modèles EVD6. Vous pouvez, en quelque sorte, choisir un modèle comme si voussélectionniez une forme d’onde de l’oscillateur pour un synthétiseur. Comme avec les formes d’onde de base de synthétiseur, les paramètres d’édition peuvent affecter le modèle de manières assez différentes. Par exemple, l’utilisation de réglages de paramètres identiques peut rendre un modèle plus « nasillard » et un autre plus « bruyant ». Caractéristiques des modèles EVD6 Cette rubrique décrit les caractéristiques de chaque modèle de clavinet. 200 Chapitre 8 EVD6 Nom du modèle Commentaires Une simulation quasiment identique au modèle D6 d’origine. Il comporte des bruits de cordes sur de longs temps de chute et un comportement précis qui suit le relâchement des touches. Chaque D6 était unique ; aussi n’hésitez pas à régler le son, afin de retrouver le ton des clavinets D6 que vous avez entendus. D6 classique Ce modèle simule un D6 qui a bien servi. Les cordes et les marteaux sont un peu anciens et usés. Le son provenant de la frappe destêtes des marteaux est imité, ainsi que le son plus riche typique, dans les basses. Old D6 Ce modèle génère un son très pointu avec beaucoup de mordant, un joli son avec effets wah-wah et phaser. Sharp D6 Comme son nom l’indique, un son moelleux, sur toute la plage du clavier. Mello(w) D6 Basic Clavinet simple et basique, sans caractéristiques spécifiques. Un modèle puissant avec une attaque forte et dynamique, qui réagit de manière plus agressive à la vélocité que les autres modèles. Domin(ation) Dans les octaves les plus basses, les oscillations des cordes deviennent beaucoup plus résonantes dans le temps, jusqu’à ce qu’elle finissent par s’arrêter (au bout de 20 à 30 secondes). Les notes plus aiguës ont un temps de chute beaucoup plus court, ce qui a un certain impact sur le comportement de résonance. Ce modèle invite à un jeu de basse de style heavy, funk dansles octaves graves. Il est agréable avec un petit peu de phaser, et des accords tenus, lorsque vous jouez des notes basses. MainStageAjouter un module Delay est également une bonne idée. GuruFnk (Guru Funk) Harpsi(chord) Ce modèle reproduit le son d’un clavecin. Ce modèle simule le son d’une corde pincée. Si vous modifiez les positions des capteurs, le son s’apparente plus à celui d’une guitare. Les sons de style harpe sont également possibles. Il suffit de positionner le capteur inférieur près du point central de la fenêtre Pickup. Pour obtenir un son de harpe, augmentez les valeurs de String Decay, Release et Excite Shape, et diminuez celle des paramètres Excite Brilliance. Pluck Ce modèle génère un son boisé, ténu avec quelques éléments inharmoniques. Il peutsonner légèrement désaccordé dans certains contextes. (Tuned) Wood Ltl (Little) India Ce modèle génère un son de sitar, riche en résonance. S(tring) Bells Un modèle de type cloche, avec de forts éléments inharmoniques. Dulcimer Ce modèle génère un son de type Dulcimer. Au médiator Ce modèle simule une corde en nylon jouée en « picking ». Chapitre 8 EVD6 201 Remarques particulières sur les modèles EVD6 Vous remarquerez certaines zones du clavier où le son change de manière significative entre deux touches adjacentes. C’est intentionnel et reflète le comportement de certains vrais modèles de clavinets simulés par l’EVD6. Le D6 d’origine présente lui aussi des différences de timbre très marquées de note à note, la plus évidente étant celle entre la corde la plus aiguë et la corde la plus basse. Si vous êtes un instrumentiste aimant le son d’origine, mais pas les sauts de timbre du mécanisme d’origine, l’EVD6 dispose d’un modèle intermédiaire : MelloD6. Réglage des paramètres EVD6 String Le modèle sélectionné détermine le comportement de base des cordes et il est étroitement lié au comportement et à l’impact de chaque paramètre String. Cela est essentiellement dû au contenu harmonique différent présent dans chaque modèle. Paramètres des cordes (String) • Curseur Decay : modifie le temps de chute des cordes, après la phase d’attaque d’une note jouée. Les valeurs positives des paramètres Decay allongent le temps de chute. À l’inverse, les valeurs négatives réduisent ce temps. • Curseur Release : modifie le temps de relâchement des cordes, après la phase de chute d’une note jouée. Les valeurs positives des paramètres Release allongent le temps de relâchement, une fois une touche relâchée. • CurseurDamping : permet de modifier l’atténuation dessons de corde. Cette atténuation correspond essentiellement à une chute plus rapide pour les harmoniques les plus aigus d’un son et elle est directement liée aux propriétés du matériau utilisé pour la corde (atténuation plus forte pour les cordes en boyau, atténuation moyenne pour les cordes en nylon, atténuation faible pour les cordes en acier). L’atténuation donne un son plus moelleux, plus rond ou plus proche du bois, en fonction du modèle utilisé. Une valeur positive rendra le son plus moelleux, alors qu’une valeur négative laissera passer davantage d’harmoniques aigus, rendant ainsi le son plus clair. 202 Chapitre 8 EVD6 • Curseur Tension Mod : ajoute aux cordes un léger effet Pitch Bend allant vers le haut, lorsque celles-cisont pincées, frappées ou tapotées. Ce type de modulation est commun à tous les instruments à cordes, comme le D6, les guitares, etc. Une caractéristique prédéfinie de modulation de tension est intégrée à chaque modèle, mais peut être modifiée à l’aide du paramètre Tension Mod. L’impact de ce paramètre pouvant être important, vous pouvez l’utiliser pour obtenir des effets sonores bizarres avec l’EVD6. Vous pouvez également simuler un clavinet désaccordé, ou un son de sitar bref et sale, utilisé dans des reprises de type « Norwegian Wood ». • Curseurs Stiffness etInharmonicity : le paramètre Inharmonique détermine l’harmonique le plus bas (le seuil harmonique). Le contenu inharmonique se trouvant au-dessus de ce seuil est étiré ou étalé dansle spectre de fréquences. Le paramètre Stiffness contrôle l’intensité de l’étirement ou de l’étalement dans le spectre définie par le curseur Inharmonicity. Les paramètres Stiffness et Inharmonique vous permettent d’intensifier ou de réduire la force du contenu inharmonique dans le son. Lorsqu’ils sont combinés à différents niveaux, ces paramètres peuvent créer des sons « métalliques » de type cloche, ou des sons de type piano électrique comme ceux du DX. Ils peuvent également être utiles pour produire des sons de basse de type acoustique. La hauteur tonale fondamentale n’est pas affectée par les paramètres Stiffness et Inharmonique. • Curseur Pitch Fall : permet de contrôler une caractéristique du D6 d’origine, où la hauteur de chaque note retombe immédiatement après le relâchement de la touche. Cette « bizarrerie » sonore est due à la construction physique du D6. L’intensité de cet effet diffère selon le modèle, maisil peut être complètement désactivé si le curseur est placé sur la position la plus à gauche. Réglage des paramètres EVD6 Excite. Ces paramètres décrivent l’excitation des cordes. Ils permettent en effet de simuler les caractéristiques et la puissance des marteaux qui frappent la corde, ainsi que d’autres éléments inhérents à la frappe de la touche initiale. • Curseur Shape : définit la forme de l’attaque, permettant de simuler la dureté des marteaux de caoutchouc dans le D6 d’origine. Avec le vieillissement de l’instrument, les marteaux s’usent, se fendent, etc., ce qui a un impact sur la sonorité et la brillance en général. Des valeurs négatives (vers la gauche) donneront une attaque plus douce et des valeurs positives une attaque plus dure. Chapitre 8 EVD6 203 • Curseur Brilliance : détermine le niveau du contenu harmonique résultant de l’excitation des cordes. Des valeurs positives (vers la droite) donneront un son plus perçant. Des valeurs négatives donneront à l’inverse un son plus étouffé. Réglage des paramètres EVD6 Click. Les marteaux de caoutchouc du D6 d’origine s’usent et déclinent, comme lesfeutres d’un piano. Un D6 qui a été aimé, et donc usé, produit un « clic » distinctif lorsqu’une touche est relâchée. Ce petit clic est dû à l’adhérence de la corde sur les marteaux de caoutchouc, avant le relâchement de la touche. Les caractéristiques de ce clic de relâchement sont inhérentes à chacun des modèles et peuvent être réglées avec précision grâce aux paramètres suivants. • Curseur Intensity : détermine le niveau du clic de relâchement. Une valeur négative de -1,00 supprime le clic de relâchement. Si vous souhaitez simuler un ancien D6, augmentez cette valeur en déplaçant le curseur vers la droite. • Curseur Random : contrôle la quantité de variations du niveau du clic sur le clavier. Ce curseur simule l’usure de certains marteaux, imitant ainsi l’usure réelle et inégale du D6 d’origine Plus vous poussez ce curseur vers la droite, plus la variation sera grande entre les clics de certaines touches. S’il est réglé complètement à gauche, toutes les touches présenteront le même niveau de clic. • Curseur Velocity : détermine le niveau de modulation du clic de relâchement, par vélocité. Cela peut s’appliquer à la vélocité Note activée ou à la vélocité de relâchement Note désactivée (consultez la rubrique Boutons KeyOn et KeyOff). • Boutons KeyOn et KeyOff : ces boutons sont utilisés pour sélectionner le type d’informations de vélocité utilisées comme source de modulation pour le niveau du clic de relâchement. • Choisissez le bouton KeyOn pour utiliser la vélocité d’attaque (la force avec laquelle vous frappez votre clavier) comme valeur de la source de modulation pour le clic de touche. • Choisissez le bouton KeyOff pour utiliser la vélocité de relâchement (force avec laquelle vous relâchez les touches de votre clavier) afin de déterminer le niveau du clic de touche. Note désactivée nécessite un clavier doté de fonctions de vélocité de relâchement. 204 Chapitre 8 EVD6 Remarque : le paramètre Velocity doit être défini sur une valeur correcte pour que la modulation KeyOn/KeyOffpuisse être entendue distinctement. Utilisation des paramètres globaux de l’EVD6 Les paramètres globaux se trouvent en bas à gauche de l’interface de l’EVD6. Ils influent sur l’ensemble de l’instrument EVD6, plutôt que sur le modèle spécifique. • Champ Voices : détermine le nombre maximal de voix pouvant être jouées simultanément. En réduisant la valeur de ce paramètre, vous limitez la polyphonie et les besoins de traitement de l’EVD6. Il existe deux réglages pour monophonique : mono et legato. Chacun d’eux fournit une seule voix à l’EVD6. • Mono : la voix de l’EVD6 est déclenchée à chaque fois qu’une note est jouée. • legato : les processus de modelage du son de l’EVD6 ne sont pas déclenchés si les notes sont jouées legato ; seule la hauteur tonale change. Si les notes sont jouées staccato, une voix de l’EVD6, avec un processus de modelage de tous les sons, est déclenchée. • Champ Tune : règle l’accord global de l’EVD6 par intervalles d’un centième. La valeur 0 équivaut au A (LA) de référence à 440 Hz. • Champ Bender: déterminent la plage du Pitch Bend, en demi-tons. Vous pouvez utiliser la roue ou la réglette de Pitch Bend de votre clavier pour contrôler les Pitch Bends. • Champ Warmth : définit la valeur de la déviation aléatoire par rapport au tempérament égal. Des valeurs élevées donnent plus de « vie » aux sons. Le paramètre Warmth peut être utile pour simuler un instrument qui n’a pas été accordé depuis longtemps ou pour épaissir légèrement un son. Lorsque vousjouez des accords, le paramètre Warmth crée un léger effet de désaccord ou de battement entre les notes. • Champ Stretch : l’EVD6 est accordé selon un tempérament égal. Toutefois, vous pouvez faire dévier cet accord standard dans les notes basses et aiguës finales du son, grâce au paramètre Stretch. Cela permet de simuler la manière dont les instruments à clavier et à cordes, comme les pianos, sont accordés. Consultez le chapitre Accord étiré chez les instruments acoustiques. Chapitre 8 EVD6 205 Remarque : si vous utilisez à la foislesfonctions Chaleur et Étirement, cela peut produire un son désaccordé, similaire à un effet de chœur un peu lourd. Dans certains cas, cet effet peut être si fort que l’EVD6 semble désaccordé par rapport à votre projet. • Champ Pressure : sur le D6 d’origine, le fait d’appliquer une pression (aftertouch) à une note déjà enfoncée fait légèrement monter sa hauteur. Le paramètre Pressure vous permet de simuler ce comportement. Vous pouvez même faire mieux que l’original, en utilisant le paramètre Pressure pour baisser légèrement la hauteur tonale avec des messages aftertouch. 206 Chapitre 8 EVD6 Accord étiré chez les instruments acoustiques La sonorité des pianos droits et, dans une moindre mesure du fait de leurs cordes plus longues, celle des pianos à queue, comportent des « inharmoniques » dansleurstructure harmonique. Bien que concernant également d’autresinstruments à cordes, cela affecte particulièrement les pianos, en raison de la longueur, de la densité et de la tension des cordes. Si un piano est parfaitement accordé sur un tempérament égal sur la plage du clavier, les sons dominants des cordes basses et les notes fondamentales des cordes aiguës paraîtront désaccordés entre eux. Pour contourner ce problème, les accordeurs de pianos utilisent une technique appelée accord étiré, avec laquelle les registres bas et aigus du piano sont respectivement accordés plus haut et plus bas. Les harmoniques des cordes basses sont alors accordées avec les notes fondamentales produites par les cordes aiguës. À la base, les pianos sont volontairement « désaccordés » (par rapport au tempérament égal), de sorte que les registres bas et aigus paraissent accordés. Le D6 d’origine étant un instrument à cordes, cette relation inharmonique concerne également l’EVD6 et les instruments d’origine simulés par celui-ci. Toutefois, la fonction Étirement a été incluse essentiellement au cas où vous souhaiteriez utiliser l’EVD6 dans un arrangement, en association avec un enregistrement de piano acoustique. Utilisation des paramètres Filter et Damper EVD6 Le D6 d’origine comporte quatre sélecteurs de filtre, qui influentsur les basses et les aigus du son. Il intègre également un curseur d’atténuation, qui modifie lui aussi le ton de base de l’instrument. Sélecteurs de filtre Damper • Sélecteurs de filtre : ces quatre sélecteurs de filtre ressemblent aux sélecteurs de contrôle du ton et de filtre du D6 d’origine. Les caractères vert eau permettent d’identifier ces sélecteurs actifs. • Brilliant : crée un son nasal ; coupe les basses. • Treble : rend le son plus perçant ; coupe les basses plus doucement. Chapitre 8 EVD6 207 • Medium : rend le son plus ténu ; réduit plus légèrement les basses. • Soft : rend le son plus doux, plus atténué. • Damper : le D6 d’origine est équipé d’un curseur d’atténuation,situé à droite du clavier, qui permet de désactiver le son des cordes. Le paramètre Damper (roue) de l’EVD6 simule cette fonction. Vous pouvez régler le paramètre Damper directement dans l’interface ou le contrôler à l’aide d’un contrôleur MIDI. Consultez la rubrique Utilisation des fonctions « Contrôle de l’effet wah », Courbe de vélocité et « Contrôle de l’atténuation » dans l’EVD6. Utilisation des paramètres Pickup EVD6 Le D6 d’origine est doté de deux capteurs (pickups) électromagnétiques (un peu comme ceux qui équipent les guitares électriques) : un en dessous des cordes (capteur inférieur) et un au-dessus (capteur supérieur). Capteur supérieur Menu Pickup Mode Les champs de valeur Pickup Position de gauche indiquent la valeur de l’extrémité supérieure de chaque capteur ; les champs de valeur Position de droite indiquent la valeur de l’extrémité inférieure de chaque capteur. Sélecteurs de capteur (Pickup) Capteur inférieur • Sélecteurs de capteur (Pickup) : ces sélecteurs modifient le « câblage » des capteurs virtuels et, de fait, le ton de l’EVD6. Les caractères vert eau permettent d’identifier ces sélecteurs actifs. • Menu local PickupMode : indique la combinaison choisie pour la position dessélecteurs de capteurs. Vous pouvez également utiliser ce menu local pour choisir un mode de capteur. 208 Chapitre 8 EVD6 • Capteurs supérieur et inférieur : les deux capteurs indiquent la position et l’angle des capteurs supérieur (au-dessus des cordes) et inférieur (en dessous des cordes). Vous pouvez régler la position et l’angle des capteurs directement en faisant glisser les petits points au centre à et chaque extrémité des capteurs. Ces modifications sont reflétées dans les champs de valeur de position des capteurs. • Champs de valeur Pickup Position : les quatre champs de valeur correspondent aux positions supérieures et inférieures (les points à chaque extrémité) de chaque capteur. Vous pouvez régler directement ces valeurs en utilisant votre pointeur en guise de curseur. Pour ce faire, cliquez sur la valeur à modifier et faites-la glisser vers le haut ou vers le bas. Les capteurs supérieur et inférieur se déplacent en même temps que vous modifiez ces valeurs. Modification de la position et de l’angle des capteurs de l’EVD6 Contrairement aux capteursfixes de l’instrument d’origine, les capteurs de l’EVD6 peuvent être placés à des positions et des angles arbitraires. Les champs numériques Supérieur et Inférieur, situés en haut à gauche de la zone consacrée aux capteurs, indiquent la position actuelle de chaque capteur, par rapport à la corde. Une valeur de 50 (pour cent) signifie que l’extrémité du capteur est positionnée au-dessus ou en dessous du centre de la corde, ce qui donnera un son plein avec du corps. Si le capteur se rapproche d’une des deux extrémités de la corde (valeur proche de 0 ou de 99), le son deviendra plus ténu. Pour régler l’angle d’un capteur Procédez de l’une des manières suivantes : µ Faites glisser une extrémité d’un capteur à une autre position (faites glisser le « point »). µ Utilisez le pointeur comme curseur dans l’un ou l’autre des champs de valeur Upper et Lower. Pour repositionner un capteur µ Faites glisser le point central du capteur à une nouvelle position le long des cordes. Conseils relatifs à la position des capteurs de l’EVD6 Essayez de déplacer la position des capteurs, tout en frappant répétitivement une note, afin d’entendre l’effet de cette position sur la tonalité générale. Des effets intéressants, de type phaser, peuvent être obtenus en automatisant les positions des capteurs. Lorsque vous utilisez un réglage employant les deux capteurs assez près des aigus des cordes et avec les sélecteurs de filtre Éclat + Aiguës, le son fondamental devient relativement faible dans le signal de sortie. Par conséquent, vous entendrez surtout les sons dominants du modèle choisi. Ceux-ci peuvent être « désaccordés », en particulier pour les modèles tels que le Wood, qui présente un important contenu inharmonique. Déplacez les capteurs vers le centre de la fenêtre Pickup, à mi-chemin sur les cordes, et désactivez tous les sélecteurs de filtre afin d’éviter cet effet désaccordé. Chapitre 8 EVD6 209 Il est possible de filtrer les capteurs dans la fenêtre Pickup. Toutefois, cela peut provoquer un « trou » (notes muettes ou très faibles) dans la plage de votre clavier. Cela est dû à une annulation de phase entre les capteurs. Si vous rencontrez ce phénomène, réglez un des capteurs, ou les deux, jusqu’à ce que les notes concernées puissent être jouées. Modification du Mode Capteur de l’EVD6 Comme avec le D6 d’origine, les deux capteurs (pickups) peuvent être utilisés selon différents modes. Les sélecteurs AB et CD permettent de changer de modes. En fonction des différentes positions des sélecteurs, le câblage interne des deux capteurs est modifié et, avec lui, le son issu de la sortie combinée des capteurs. Dans l’EVD6, la configuration actuelle du câblage est appelée Mode capteur. Elle s’affiche dans le menu local Pickup Mode. Vous pouvez choisir le mode souhaité dans le menu. Sélecteur C/D Sélecteur A/B Pickup Mode Résultat capteur Neck : son chaud Bas (C) Bas (A) Inférieur capteur Bridge : son clair Bas (C) Haut (B) Supérieur les deux capteurs : son plein Haut (D) Haut (B) Inférieur+Supérieur les deux capteurs hors phase : son ténu Haut (D) Bas (A) Inférieur-Supérieur 210 Chapitre 8 EVD6 Utilisation des effets intégrés de l’EVD6 Une simulation de clavinet est incomplète si vous n’avez pas sélectionné de créateurs d’effets. L’EVD6 intègre trois simulations d’effets « classiques », au niveau des pédales : distortion, modulation et wah wah. Chaque effet a été soigneusement modelé sur les pédales qui ont accompagné les années de gloire du clavinet (les années 70), vous assurant un son vraiment authentique et « vintage ». Cliquez ici pour choisir un effet de routage. • Boutons FX Order : les effets de l’EVD6 fonctionnent en série : dans la chaîne des effets, la sortie d’un effet est entrée dans le processeur d’effets suivant. Les boutons FX Order vous permettent de déterminer l’ordre dans lequel les effets en série sont combinés. Les choix de routage sont les suivants : • WDM : Wah > Distortion > Modulation • DWM : distortion > Wah > Modulation • MDW : modulation > Distortion > Wah • WMD : Wah > Modulation > Distortion • IGN : cliquez sur le bouton IGN pour ignorer tous les effets. Cliquez sur le bouton une seconde fois pour retourner au routage d’effets précédemment sélectionné. Remarque : ce routage d’effets assignable est particulièrement utile pour indiquer si un signal distordu doit être filtré par l’effet wah (pour donner des sons « plus funky ») ou, inversement, si le son filtré par l’effet wah doit être ensuite distordu (pour donner des sons « hurlants ») par exemple. Chapitre 8 EVD6 211 Utilisation de l’effet de distorsion de l’EVD6 L’effet de distorsion intègre un effet de compression, qui précède toujours l’effet de distorsion. Il vous permet d’augmenter ou de diminuer l’intensité perçue, afin de définir le niveau d’entrée souhaité au circuit de distorsion. • Champ Comp(ression Ratio) : règle la courbe de compression. L’intensité supplémentaire obtenue grâce au compresseur vous permet de créer des distorsions réellement « crunchy ». Il peut également être utile pour améliorer le son du clic de touche et accentuer les harmoniques des différents modèles de clavinets. • Bouton Tone : modifie la couleur de la distorsion. • Potentiomètre Gain : modifie le niveau de la distorsion. • De faibles valeurs de Ton et de Gain permettent de créer des effets d’overdrive chauds. • À l’inverse, des valeurs de Ton et de Gain plus élevées produisent des effets de distorsion plus criards. • Si la valeur de Gain est fixée au minimum, aucune distorsion n’est audible (en revanche, la compression, si elle est active, peut l’être). Remarque : au vu de la corrélation entre les effets de compression et de distorsion, le paramètre Ordre FX est très important pour le placement du FX Ordre dans la chaîne des effets. Si l’effet de Compression/Distortion est le dernier de la chaîne et que son Gain est complètement baissé, mais que le paramètre Compression Ratio est élevé, vous compressez efficacement le signal de sortie de l’EVD6. 212 Chapitre 8 EVD6 Utilisation de l’effet de modulation de l’EVD6 L’EVD6 donne le choix entre troistypes d’effets de modulation : Phaser, Flanger ou Chorus. Pour en savoir plus sur le fonctionnement de ces effets MainStage, consultez la rubrique Modulation de l’aide relative aux effets . Unité de modulation • Menu local Mode : vous permet de choisir un effet de modulation parmi les trois types suivants : Phaser, Flanger ou Chorus. • Potentiomètre Rate : détermine la vitesse des effets Phaser, Flanger ou Chœur. • Potentiomètre Intensity : détermine la profondeur des effets Phaser, Flanger ou Chœur. Lorsque l’effet Phaser est actif, des valeurs Rate et Intensity élevées entraînent des changements de phases importants et variant de manière incontrôlée. Attention : ces sons peuvent également endommager les oreilles, ainsi que les haut-parleurs. L’utilisation de valeurs Intensity élevées entraîne des effets de type ensemble lorsque l’effet Chorus est actif. Chapitre 8 EVD6 213 Utilisation de l’effet wah wah de l’EVD6 Le nomwah wah provient du son produit par cette pédale. Cet effet (de pédale le plus souvent) a été rendu célèbre par les guitaristes électriques depuisl’époque de Jimi Hendrix. Cette pédale contrôle la fréquence de coupure (cutoff) d’un filtre passe-bande, passe-bas ou, plus rarement, d’un filtre passe-haut. Les pédales wah wah sont également beaucoup utilisées avec le D6. L’EVD6 permet de simuler plusieurs effets wah wah classiques, ainsi que certains types de filtre de base. • Menu local Mode : choisissez un des réglages de l’effet wah wah suivants : • Off : l’effet wah wah est désactivé. • ResoLP (Resonating Low Pass Filter, filtre passe-bas résonant) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-bas avec résonance. Si la pédale est en position minimum, seules les fréquences basses peuvent passer. • ResoHP (Resonating High Pass Filter, filtre passe-haut résonant) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-haut avec résonance. Si la pédale est en position minimum, seules les fréquences hautes peuvent passer. • Peak : dans ce mode, l’effet wah-wah fonctionne comme un filtre à crête (en cloche). Les fréquences proches de la fréquence de coupure sont mises en évidence. • CryB : ce réglage imite le son de la célèbre pédale wah wah « Cry Baby ». • Morley 1 : ce réglage imite le son d’une célèbre pédale wah wah, fabriquée par Morley, avec une légère crête caractéristique. • Morley 2 : ce réglage imite le son de la pédale de distorsion wah wah Morley, avec un facteur Q(ualité) constant. • Potentiomètre Range : définit la fréquence de coupure du filtre. Si le potentiomètre Range est tourné vers la gauche, toutes les modulations de coupure se produiront sur une bande de fréquence étroite. Pour obtenir des possibilités de contrôle plus étendues, tournez le potentiomètre Range vers la droite. 214 Chapitre 8 EVD6 • Potentiomètre Envelope : détermine la sensibilité de l’enveloppe (de filtre) aux messages de vélocité de note entrants. Un effet auto wah est produit grâce à la fonction d’enveloppe follower intégrée, qui contrôle la profondeur de la modulation de coupure du filtre. Concrètement, cela signifie que la dynamique du jeu contrôle directement la profondeur de la modulation de filtre wah wah. Utilisation des paramètres EVD6 Output Les paramètres évoqués dans cette rubrique déterminent le niveau général, ainsi que le comportement stéréo, de l’EVD6. Faites glisser ici pour définir une position du clavier, qui sera utilisée pour le contrôle panoramique. Faites glisser ici pour modifier la position panoramique des capteurs. • Paramètre Stereo Spread : ce paramètre en deux parties modifie l’imagerie stéréo de la sortie de l’EVD6 (contrôlée par la position des touches). Il permet en outre de contrôler la balance des capteurs. • Potentiomètre Level : permet de régler le niveau « après les effets » en dB (décibels). Remarque : le contrôleur MIDI ajuste le niveau de sortie, à moins qu’il ne soit assigné aux contrôles de la pédale wah ou de l’atténuation. Réglage des paramètres EVD6 Stereo Spread Contrairement au D6 d’origine, l’EVD6 dispose d’une sortie stéréo, configurable avec le paramètre Stereo Spread. Il se divise en deux parties : Key et Pickup. Lorsque les deux capteurs sont actifs (modes Supérieur+Inférieur et Supérieur-Inférieur), le paramètre Pickup permet de répartir leurs deux signaux dans l’image stéréo. Le paramètre Key définit une modulation de l’échelle de notes de la balance. En d’autres termes, la position de la note jouée sur le clavier détermine la balance. Chapitre 8 EVD6 215 Vous pouvez employer les deux types de diffusion stéréo en même temps. Elles sont automatiquement mélangées. L’effet des deux paramètres est affiché graphiquement dans l’anneau situé autour du potentiomètre Stereo Spread. • La balance des capteurs est représentée par les petites lignes rouges à l’intérieur de l’anneau. • La plage de l’échelle de notes est représentée par les zones vert foncé. Pour régler la position des capteurs dans le champ stéréo µ Faites un glisser vertical dans la moitié inférieure (Capteur) du bouton circulaire. Des valeurs Pickup élevées éloignent les signaux des deux capteurs de la position centrale (un vers la droite, l’autre vers la gauche). Définissez ce paramètre sur sa valeur maximale au niveau de la balance à l’extrémité gauche ou droite. Pour régler la position du clavier µ Faites un glisser vertical dans la moitié supérieure (Tonalité) du bouton Stereo Spread. La position centrale est la note MIDI numéro 60 (C3). Définissez ce paramètre sur sa valeur maximale au niveau de la balance à l’extrémité gauche ou droite (demi-tons) de la note MIDI 60. Utilisation des paramètres EVD6 MIDI Control Les assignations d’un contrôleur MIDI vous permettent de contrôler l’EVD6 à l’aide d’un contrôleur MIDI externe ou d’une application hôte telle que .MainStage Apprentissage des assignations d’un contrôleur MIDI Tous les paramètres vous permettant de sélectionner un contrôleur MIDI disposent d’un élément de menu Learn. Pour apprendre un contrôleur 1 Sélectionnez l’élément de menu Learn pour assigner automatiquement le paramètre au premier message de données MIDI entrant approprié. 2 Déplacez le contrôleur de votre choix. Le mode Learn comprend une fonctionnalité d’expiration : si l’EVD6 ne reçoit pas de message MIDI dans les 20 secondes, le paramètre revient à son attribution de contrôleur MIDI d’origine. 216 Chapitre 8 EVD6 Utilisation des fonctions « Contrôle de l’effet wah », Courbe de vélocité et « Contrôle de l’atténuation » dans l’EVD6 Ces paramètres vous permettent de choisir une courbe de vélocité ou un contrôleur approprié pour l’EVD6. • Menu local Wah Ctrl : permet de définir le (numéro/nom) d’un contrôleur MIDI utilisé pour contrôler manuellement l’effet wah wah. Les contrôleurs au pied MIDI, comme les pédales Expression, sont généralement utilisés pour ce type de tâche, mais vous pouvez librement assigner n’importe quel contrôleur MIDI. Vous pouvez également utiliser la vélocité MIDI ou les messages aftertouch pour contrôler l’effet wah. Le contrôle MIDI peut être désactivé avec l’option Off. Remarque : vous pouvez contrôler l’effet wah wah à la fois avec la fonction d’enveloppe follower intégrée (« auto wah » : consultez la rubrique Utilisation de l’effet wah wah de l’EVD6) et un contrôleur manuel. Dans ce cas, l’effet de l’enveloppe follower et du contrôleur manuel sont mélangés. • Curseur Wah Pedal Position (Vue Controls) : sélectionnez Afficher > Contrôles pour accéder au curseur Wah Pedal Position. La valeur de ce paramètre représente la position actuelle de la pédale, ce qui garantit son enregistrement avec le réglage. • Menu local Velo Curve : eVD6 comporte neuf courbes de vélocité prédéfinies. Vous pouvez ainsi définir une courbe adaptée à votre style de jeu ou au modèle choisi. Les neuf courbes disponibles sont : fix25%, fix50%, fix75%, fix100%, convex1, convex2, linear (courbe par défaut), concave1 et concave2. • Les courbes « fixes » sont linéaires, avec une plage dynamique fixe de 25 pour cent, 50 pour cent, etc. • Les courbes concaves sont moins dynamiques au niveau des octaves centrales de la plage du clavier. • À l’inverse, les courbes convexessont plus dynamiques au niveau des octaves centrales de la plage du clavier. Chapitre 8 EVD6 217 • Menu local Damper Ctrl » : vous permet de choisir le contrôleur MIDI (tout comme la vélocité ou l’aftertouch MIDI) à utiliser pour contrôler le paramètre Damper. Si vous choisissez le réglage Désactivé, vous désactivez le contrôle MIDI du paramètre Damper. Brève histoire du Clavinet La société allemande Hohner, qui a conçu le clavinet D6, était surtout connue pour ses instruments à anches (harmonicas, accordéons, mélodicas, etc.), mais la marque a également fabriqué un certain nombre de claviers « classiques », avant la première incarnation du clavinet, connue sous le nom de « Cembalet ». Le musicien et inventeur Ernst Zacharias a conçu le Cembalet dans les années 50. Il était supposé être une version portable et amplifiable du Cembalo ou de l’Harpsichord. Son mécanisme nécessitait de pincer l’extrémité d’une anche plate avec la touche, dont le son était ensuite capté et amplifié, un peu comme sur une guitare électrique. Un an ou deux après la commercialisation du Cembalet, deux modèles de Pianet sont apparus. Ces deux modèles, CH et N, utilisaient des anches plates pour la génération sonore, mais avec une action mécanique (pincement/frappe) très différente. Lorsqu’une touche était enfoncée, elle entraînait un « patin adhésif » avec un renforcement en mousse, qui était en fait collé à l’anche. Lorsque la touche était relâchée, son poids permettait au patin adhésif de se libérer de l’anche, provoquant ainsi la vibration de l’anche, vibration qui était ensuite amplifiée. Le Pianet modèle T a été commercialisé plusieurs années après et utilisait un « patin de succion » en caoutchouc souple sur les anches, au lieu du patin adhésif utilisé pour les modèles CH et N. Cette méthode présentait encore quelques inconvénients, mais ils n’étaient pas trop gênants car la dynamique du clavier était limitée. Autre défaut : toutes les anches étaient atténuées lors du relâchement des touches, ce qui éliminait toute possibilité d’obtenir une tenue (sustain) du son via une pédale. Malgré ces problèmes, le son du Pianet modèle T a été rendu populaire par certains groupes, comme les Zombies et les Small Faces, dans les années 60. Entre la commercialisation des Pianet modèles N et T, Zacharias a inventé ce qui allait devenir le plus grand succès d’Hohner et certainement le plus funky des claviers : le clavinet. Le clavinet a été conçu pour imiter le son d’un clavicorde, mais avec un son plus « plein ». (Le clavicorde avait notoirement un son fin.) Les premiers modèles, clavinet I avec ampli intégré, clavinet II avec filtres, clavinet L avec sa forme bizarre en triangle, ont tous donné naissance au modèle C du clavinet. Celui-ci a, à son tour, été redéfini pour devenir le D6, plus portable. Le D6 utilise un marteau, qui frappe une corde contre une surface métallique pour produire le son. Il est équipé d’un clavier entièrement dynamique, puisque le marteau est situé directement sous la touche. Plus vous frappez fort, plus le son est fort et vibrant. 218 Chapitre 8 EVD6 Si vous dites « Clavinet » aujourd’hui tout le monde pensera automatiquement au titre « Superstition » de Stevie Wonder, un morceau qui a rendu aussi célèbre le D6, que l’artiste qui l’a écrit et interprété. Le D6 a ensuite été remplacé par le E7 et le Clavinet/Pianet Duo. Ils étaient identiques au D6, mais plus achevés, plus silencieux et mieux protégés contre les bruits parasites que les anciens modèles. Comment fonctionne le Clavinet D6 Chaque touche du clavier du D6 forme un seul bras de levier. Lorsqu’une touche est enfoncée, un piston situé sous la touche frappe la corde et la presse contre une enclume. La corde frappe l’enclume avec une force déterminée par la vélocité des touches, ce qui affecte à la fois les dynamiques et les harmoniques de la corde qui produit un son. Les vibrations mécaniques de l’action sont capturées par des capteurs magnétiques, puis converties en signaux électriques, qui sont alors amplifiés et reproduits par les haut-parleurs. Lorsque la touche est relâchée, le contact entre le piston/le marteau et l’enclume est immédiatement rompu. Le garnissage de laine entourant la corde est alors libéré. Les cordes cessent immédiatement de vibrer. Double déclenchement des notes Lorsque vous essayez l’EVD6, ou que vous écoutez certains des réglages fournis, vous pouvez entendre dessons quisemblent être déclenchés deux fois: lors de l’enfoncement de la note et lors de son relâchement. Il s’agit en réalité d’une caractéristique qui simule le D6 d’origine. Le vrai D6 avait un « problème » lié aux cordes qui adhéraient aux marteaux lorsqu’ils étaient usés, produisant ainsi un second déclenchement lorsque la touche était relâchée. Vous pouvez régler l’intensité de ce double déclenchement à l’aide du curseur Intensity de la section Clic (consultez Réglage des paramètres EVD6 Click.). Si vous déplacez ce curseur complètement vers la gauche, le second déclenchement dû au relâchement des touches n’est plus audible. Chapitre 8 EVD6 219 L’EVP88 est un piano électrique virtuel qui simule le son des différents pianos Rhodes et Wurlitzer, ainsi que celui du piano Hohner Electra. Les sons inoubliables des pianos Fender Rhodes sont parmi les plus connus des sons d’instruments à clavier utilisés dansla seconde moitié du 20e siècle. Les différents modèles Rhodes ont été rendus célèbres dans diversstyles musicaux, qu’ils’agisse de pop, de rock, de jazz ou de soul, ainsi que dans des genres plus récents comme la house et le hip hop. Le piano Wurlitzer, qui connut l’apogée dans les années 70, fut presque aussi populaire. Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'EVP88 (p 221) • Présentation de l’interface EVP88 (p 222) • Utilisation des paramètres globaux de l’EVP88 (p 223) • Utilisation des paramètres EVP88 Model (p 224) • Utilisation des paramètres EVP88 Stretch (p 225) • Utilisation des effets EVP88 intégrés (p 226) • Utilisation des paramètres EVP88 Extended (p 231) • Liste des contrôleurs MIDI de l’EVP88 (p 231) • Modèles de pianos électriques émulés par l’EVP88 (p 232) Achitecture et fonctionnalités de l'EVP88 Le moteur de synthèse du piano de l’EVP88 utilise des techniques de modélisation de composantes pour générer des sons. Il est conçu exclusivement pour une simulation ultraréaliste des pianos électriques et offre une dynamique progressive, avec une répartition sur un clavier à 88 notes. Avec la modélisation de composantes, vous n’entendrez jamais de changement abrupt entre les échantillons, ni de mise en boucle de ces derniers ou d’effet de filtrage durant la phase de chute des notes. 221 EVP88 9 Le moteur de modélisation de composantes de l’EVP88 simule également les caractéristiques physiques des instruments d’origine. Il simule en outre le mouvement des diverses anches, tiges et barrestonales du piano électrique dansles champs électriques et magnétiques des capteurs. Enfin, il simule l’effet des éléments transitoires typiques de la phase d’attaque (sonneries, claquements,sons de cloche), ainsi que l’action des marteaux et les bruits d’atténuation des instruments d’origine. Une section intégrée de traitement des effets améliore encore les capacités sonores de l’EVP88, produisant ainsi divers effets classiques couramment utiliséssur lessons de piano électrique. Les effets intégrés d’égaliseur, d’overdrive, de modulateur de phase stéréo, de trémolo stéréo et de chœur stéréo ont été spécialement conçus, adaptés et optimisés pour l’EVP88. Pour en savoir plus sur la modélisation de composants, consultez Synthèse par modélisation des composantes. Présentation de l’interface EVP88 Avant de découvrir chaque paramètre de l’EVP88, vous pouvez vous familiariser dans cette rubrique avec l’interface de l’EVP88, quise compose des zones principales ci-dessous. Paramètres Effect Paramètres Stretch Paramètres de modèle Paramètres globaux • Paramètres globaux : la partie supérieure sombre contient les paramètres Model, Voices et Tune. Il s’agit d’options globales, qui affectent l’ensemble de l’instrument. Consultez Utilisation des paramètres globaux de l’EVP88. • Paramètres Model : la partie gauche de la rangée centrale contient les véritables paramètres du moteur de synthèse, ceux qui vous permettent de modifier la sonorité et le comportement de lecture du modèle actuel. Consultez Utilisation des paramètres EVP88 Model. 222 Chapitre 9 EVP88 • Paramètres Stretch : la partie droite de la section centrale contient les paramètres Stretch, qui affectent l’accord des registres supérieur et inférieur du son actuellement chargé. Consultez Utilisation des paramètres EVP88 Stretch. • Paramètres Effect : le tiers inférieur de l’interface comprend les paramètres d’effet EQ, Drive, Phaser, Tremolo et Chorus. Consultez Utilisation des effets EVP88 intégrés. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Il s’agit des fonctions relatives au volume, au bend, ainsi qu’à d’autres effets. Consultez Utilisation des paramètres EVP88 Extended. Utilisation des paramètres globaux de l’EVP88 Les paramètres globaux influent l’ensemble de l’instrument EVP88, plutôt que des modèles de piano électrique spécifiques. • CadranModel : effectuez un glissement vertical pour choisir parmi les différents modèles de pianos électriques. Plusieurs modèles Rhodes sont disponibles, tels que le Mark I, le Mark II et le Suitcase Piano, ainsi que les modèles Wurlitzer et Hohner Electra. Pour en savoir plus sur les instruments émulés, consultez Modèles de pianos électriques émulés par l’EVP88. Remarque : lorsque vous sélectionnez un nouveau modèle, toutes les voix audibles sont coupées et les valeurs standard de tous les paramètres sont restaurées. Il est donc conseillé de choisir le modèle avant de modifier les réglages d’effets et de paramètres. • Champ Voices: définit le nombre maximal de voix pouvant être écoutéessimultanément. En réduisant la valeur de ce paramètre, vous limitez la polyphonie de l’EVP88. Lorsque ce paramètre est défini sur 1, l’instrument est monophonique . La valeur maximale 88 permet des glissandi sur toute l’étendue du clavier, avec la pédale sustain. Chapitre 9 EVP88 223 • Champ Tune : modifie l’accord de l’EVP88 par incréments d’un centième. La valeur 0 équivaut au A (La) de référence à 440 Hz. La plage comprend un certain nombre de tons, plus ou moins un demi-ton. Utilisation des paramètres EVP88 Model Les paramètres de modèle affectent spécifiquement le modèle sélectionné. • Potentiomètre Decay : modifie le temps de chute du son du piano. Plus cette valeur est basse, moins le son est soutenu et plus l’effet d’atténuation appliqué à la vibration des tiges est important. Si ce paramètre est réglé sur des durées courtes, la tonalité principale sera plus prononcée et audible pendant plus longtemps que les harmoniques transitoires. Au niveau sonore, l’effet rappelle un peu celui d’une corde de guitare électrique qui serait étouffée par la paume d’une main. Les pianos électriques peuvent être modifiés de la même manière. Des valeurs plus élevées (durées plus longues) produisent un son plus soutenu et une impression de dynamique moindre. • Potentiomètre Release : détermine le niveau d’atténuation appliqué aprèsle relâchement des touches. Des réglages extrêmement longs (valeurs de relâchement élevées) permettent d’utiliser ce piano comme un vibraphone. • Potentiomètre Bell : détermine le niveau des aigus (inharmoniques) dans le son. Il est utile pour émuler des sons de piano électrique classiques. • Potentiomètre Damper : règle le niveau du bruit d’atténuation causé par le feutre sur la tige en vibration des instruments d’origine. • Potentiomètre Stereo Intensity : affecte le champ stéréo du son : lorsque celui-ci est réglé sur des valeurs élevées, les notes basses sont audibles dans le canal de gauche et les notes aiguës dans le canal de droite. L’effet est agréable et planant. Toutefois, évitez de l’utilisersi vous voulez reproduire fidèlement le son d’un piano électrique « vintage ». 224 Chapitre 9 EVP88 Utilisation des paramètres EVP88 Stretch L’EVP88 est accordé selon un tempérament égal. Cependant, vous pouvez modifier l’accord dans les basses et les aigus, un peu comme pour les pianos acoustiques (en particulier les pianos droits). Vous pouvez aussi moduler l’accord de chaque note de façon aléatoire. • Potentiomètre Lower Stretch : détermine la valeur de déviation par rapport à la valeur moyenne des basses. Plus cette valeur est élevée, plus les notes basses sont accordées vers le bas. Avec un réglage sur 0, l’EVP88 est accordé selon un tempérament égal, la fréquence étant réduite de moitié à chaque passage à l’octave inférieure. • Potentiomètre Upper Stretch : détermine la valeur de déviation par rapport à la valeur moyenne des aigus. Plus cette valeur est élevée, plus les notes aiguës sont accordées vers le haut. Avec un réglage sur 0, l’EVP88 est accordé selon un tempérament égal, la fréquence étant doublée à chaque passage à l’octave supérieure. • Potentiomètre Warmth : détermine la valeur de la déviation (aléatoire) par rapport à la moyenne (tempérament égal). Chaque note est légèrement désaccordée par rapport à la suivante, ce qui confère vie et richesse au son (notamment si des valeurs Warmth élevées sont sélectionnées). Remarque : si vous utilisez à la fois les fonctions Warmth et Stretch Upper ou Lower, cela peut produire un son désaccordé,similaire à un effet de chorus un peu lourd. Dans certains cas, cet effet peut être si fort que l’EVP88 semble désaccordé par rapport au reste de votre projet. Chapitre 9 EVP88 225 Accord étiré chez les instruments acoustiques La sonorité des pianos droits et, dans une moindre mesure (du fait de leurs cordes plus longues), celle des pianos à queue, comporte des « inharmoniques » dans sa structure harmonique. Bien que concernant également d’autresinstruments à cordes, cela affecte particulièrement les pianos, en raison de la longueur, de la densité et de la tension des cordes. Si un piano est parfaitement accordé sur un tempérament égal sur la plage du clavier, les sons dominants des cordes basses et les notes fondamentales des cordes aiguës paraîtront désaccordés entre eux. Pour contourner ce problème, les accordeurs de pianos utilisent une technique appelée accord étiré, avec laquelle les registres bas et aigus du piano sont respectivement accordés plus haut et plus bas. Les harmoniques des cordes basses sont alors accordées avec les notes fondamentales produites par les cordes aiguës. À la base, les pianos sont volontairement « désaccordés » (par rapport au tempérament égal), de sorte que les registres bas et aigus paraissent accordés. Les pianos électriques n’étant pas dotés de cordes, cette relation inharmonique ne concerne pas l’EVP88, ni les instruments d’origine que celui-ci émule. La fonction d’étirement a été incluse essentiellement au cas où vous souhaiteriez utiliser l’EVP88 dans un arrangement, en association avec un enregistrement de piano acoustique. Utilisation des effets EVP88 intégrés L’EVP88 offre des effets intégrés d’égaliseur, d’(over)drive, de modulateur de phase, de trémolo et de chorus. Pour en savoir plus, consultez les rubriques suivantes : • Utilisation de l’égaliseur EVP88 • Utilisation de l’effet Drive de l’EVP88 • Utilisation de l’effet Phaser de l’EVP88 • Utilisation de l’effet Tremolo de l’EVP88 • Utilisation de l’effet Chorus de l’EVP88 226 Chapitre 9 EVP88 Utilisation de l’égaliseur EVP88 L’égaliseur vous permet d’amplifier ou de réduire les fréquences hautes et basses du son de l’EVP88. L’égaliseur est placé après le circuit d’overdrive dans la chaîne des effets de l’EVP88. • Potentiomètre Treble : contrôle un filtre conventionnel pour les hautesfréquences. Selon le modèle de piano choisi, des filtres en plateau ou à crête sont employés. Des plages de fréquences optimisées sont présélectionnées pour chaque modèle. • Potentiomètre Bass : contrôle un filtre conventionnel pour les basses fréquences. Selon le modèle de piano choisi, des filtres en plateau ou à crête sont employés. Des plages de fréquences optimisées sont présélectionnées pour chaque modèle. Astuce : en supprimant les plages de fréquences aiguës et basses, vous obtiendrez un son très direct et très agressif, avec une forte dominance des médiums. Si vous avez besoin d’une égalisation plus précise, vous pouvez insérer n’importe quel module d’égalisation de MainStage dans la tranche de console de l’instrument. Vous pouvez également utiliser la commande Tone de l’effet Drive pour mieux définir le contour d’un son dur. Chapitre 9 EVP88 227 Utilisation de l’effet Drive de l’EVP88 Les pianos électriques sont plus performants lorsque des amplificateurs à tube sont utilisés. Ces derniers offrent une grande variété de possibilitéssonores, allant de la subtilité chaude ou dessons mordants des amplificateurs de guitare aux distorsionsrock hurlantes et psychédéliques. L’effet Drive de l’EVP88 simule la saturation caractéristique d’un amplificateur à tube. C’est le premier circuit de traitement du signal dans la chaîne des effets disponible sur l’EVP88. • Potentiomètre Gain : définit le niveau de distorsion harmonique. • Bouton Tone : Égalise le son avant que le circuit de l’amplificateur à tube virtuel l’amplifie ou lui fasse subir une distorsion. Vous pouvez utiliser des valeurs Tone faibles pour définir une couleur tonale moelleuse. Si le son vous paraît trop doux, amplifiez les aigus avec l’effet Equalizer. Si vous préférez une distorsion ayant des caractéristiques plus dures typiques d’un amplificateur à transistor saturé, utilisez des valeurs plus élevées pour le paramètre Tone. Si le son devient trop dur, vous pouvez supprimer les aigus avec la commande Treble de l’effet Equalizer. Utilisation de l’effet Phaser de l’EVP88 Les pédales de modulation de phase utilisées par les guitaristes électriques étaient également populaires parmi les pianistes électriques, en particulier dans les styles jazz électrique, jazz rock et pop des années 70. L’effet Phaser fait passer le signal d’origine dans une série de quatre filtres, qui améliorent certains aspects du spectre de fréquences de l’EVP88. Ce signal filtré est légèrement déphasé et mixé avec le son d’origine, provoquant ainsi des « ruptures » dans le spectre de fréquences. Les ruptures présentes dans le signal déphasé sont déplacées vers le haut ou le bas dans le spectre de fréquences au moyen de la modulation LFO (low frequency oscillator). Cela signifie que l’amplitude des deux signaux atteint son point maximal et minimal avec un léger décalage temporel. 228 Chapitre 9 EVP88 Remarque : MainStage offre un effet Phaser plus sophistiqué (ainsi que d’autres modules de modulation), pouvant être utilisés à la place de ou en association avec l’effet Phaser de l’EVP88. Les paramètres de l’effet Phaser de l’EVP88 ont de nombreux points communs avec ceux des meilleurs modulateurs de phase analogique des années 1960 et 1970, parmi lesquels un effet de distorsion subtil de type analogique. • Potentiomètre Rate : détermine la vitesse de l’effet de phase. Lorsque ce paramètre est réglé sur 0, le module Phaser est désactivé. • potentiomètre Color : détermine la quantité de signal de sortie du module Phaser renvoyée en entrée de l’effet. Cela a un impact sur la couleur tonale de l’effet de phase. • Potentiomètre Stereophase : détermine le décalage de phase entre les canaux gauche et droite, en commençant par 0 l’effet devient plus intense, mais pas stéréophonique. À 180, l’effet augmente dans le canal gauche, alors qu’il se réduit d’autant dans le canal droit, et vice versa. Utilisation de l’effet Tremolo de l’EVP88 Une modulation périodique de l’amplitude (niveau) du son est appelée trémolo. La modulation est contrôlée par le biais d’un modulateur sub-audio (LFO). Le « Suitcase Piano » Fender Rhodes est équipé d’un trémolo stéréo, alors que de nombreux autres pianos électriques disposent d’un trémolo monophonique simple, mais très marqué, pouvant même introduire une sorte de sensation polyrythmique dans l’interprétation. • Potentiomètre Rate : définit la vitesse de l’effet trémolo (fréquence de l’oscillateur sub-audio). Chapitre 9 EVP88 229 • Potentiomètre Intensity : ajuste le taux de modulation d’amplitude. Lorsque ce paramètre est réglé sur 0, l’effet de trémolo est désactivé. • Potentiomètre Stereophase : détermine le décalage de phase relatif entre les canaux gauche et droite, en commençant par 0 avec une modification du niveau des deux canaux en phase. Une valeur de 180 produit un effet trémolo stéréo, également appelé panning automatique. Cet effet est similaire à celui obtenu lorsque vous tournez manuellement le potentiomètre panoramique d’un côté à l’autre. Astuce : le piano Wurlitzer original est doté d’un trémolo monophonique avec une vitesse de modulation fixe de 5,5 Hz. Pour un son Wurlitzer authentique, sélectionnez une valeur Stereophase de 0 degré. Pour des sons Rhodes, sélectionnez la valeur 180 degrés. Les réglages intermédiaires donnent des effets agréables et planants, en particulier pour des vitesses de modulation LFO basses. Utilisation de l’effet Chorus de l’EVP88 Bien connu, l’effet chorus repose sur un circuit à retard. Le temps de retard est modulé à l’aide d’un LFO. Le signal retardé est mixé avec le signal d’origine. Il s’agit de l’effet le plus couramment utilisé sur les sons de pianos électriques. Le paramètre Chorus régule l’intensité (valeur de la déviation du temps de retard). La vitesse du LFO est fixée à 0,7Hz, mais elle peut être modifiée à l’aide du paramètre Chorus Rate (consultez Utilisation des paramètres EVP88 Extended ci-dessous). Remarque : si les valeurs sont élevées, le piano peut paraître désaccordé. 230 Chapitre 9 EVP88 Utilisation des paramètres EVP88 Extended L’EVP88 offre des paramètres étendus accessibles par le biais du triangle d’affichage situé en bas de sa fenêtre. • Curseur et champ Volume : définissent le niveau de sortie global de l’EVP88. • Curseurs et champs Bend Range Down/Up : déterminent la plage du Pitch Bend, en demi-tons. • Curseur et champ Chorus Rate : détermine la vitesse de l’effet Chorus, en Hz. • Curseurs et champsDelay PP etDelay FF : définissent le temps de retard (en millisecondes) pour un jeu pianissimo (PP, doux) ou forte (FF, fort). Liste des contrôleurs MIDI de l’EVP88 L’EVP88 répond aux numéros des contrôleurs continus (CC) MIDI suivants. Numéro de contrôleur Nom de paramètre 1 Paramètre Volume 12 Potentiomètre Model 13 Paramètres Model : potentiomètre Decay 14 Paramètres Model : potentiomètre Release 15 Paramètres Model : potentiomètre Bell 16 Paramètres Model : potentiomètre Damper 17 Paramètres Model : potentiomètre Stereo Intensity 18 Paramètres EQ : potentiomètre Treble 19 Paramètres EQ : potentiomètre Bass 20 Paramètres Drive : potentiomètre Gain 21 Paramètres Drive : potentiomètre Tone 22 Paramètres Phaser : potentiomètre Rate 23 Paramètres Phaser : potentiomètre Color 24 Paramètres Phaser : potentiomètre Stereophase 25 Paramètres Tremolo : potentiomètre Rate 26 Paramètres Tremolo : potentiomètre Intensity 27 Paramètres Tremolo : potentiomètre Stereophase Chapitre 9 EVP88 231 Numéro de contrôleur Nom de paramètre 28 Paramètres Chorus : potentiomètre Intensity Modèles de pianos électriques émulés par l’EVP88 Les rubriques qui suivent fournissent des informations générales sur les instruments émulés par l’EVP88. Rhodes Piano Wurlitzer Piano Hohner Electra Rhodes Harold Rhodes (né en 1910) a, sans conteste, construit le modèle de piano électrique le plus connu et le pluslargement utilisé. Conçu en 1946 comme un substitut au piano pour l’étude, l’éducation et lesspectacles de l’armée, le piano Rhodes a été commercialisé avec succès par le fabricant de guitares Fender dès 1956. Le Fender Rhodes est devenu un des instruments de musique les plus populaires en Jazz, surtout en Jazz électrique. Sa popularité au sein de la musique pop et rock s’est développée après que CBS a repris la production du Rhodes en 1965. Malgré les différents changements de propriétaires au fil des années, cet instrument reste surtout connu sousson appellation « Fender Rhodes ». Il existe également un certain nombre de synthétiseurs « Rhodes », qui ont été développés par l’ancien fabricant de synthétiseurs ARP. Le fabricant japonais de technologie musicale et de synthétiseurs Roland a été propriétaire du nom Rhodes pendant un moment et a commercialisé plusieurs pianos numériques sous cette appellation. À partir de 1997 et jusqu’à sa mort en décembre 2000, Harold Rhodes est redevenu propriétaire du nom. La méthode de génération sonore utilisée par le piano Rhodes est basée sur des tiges métalliques, qui fonctionnent un peu comme un diapason. Ces tiges sont frappées par un marteau, à la manière des marteaux d’un piano de concert. Le diapason asymétrique se compose d’une fine tige reliée à une barre tonale massive. En raison de contraintes de fabrication, certaines des barres tonales sont pivotées de 90 degrés. Le piano peut être accordé grâce à la masse d’un ressort pouvant être déplacé le long de la tige. La tige oscille devant un capteur électrique, similaire à celui d’une guitare électrique. Cette oscillation fonctionne selon les principes de l’induction, avec des aimants permanents placés autour de la tige, ces derniers ayant un effet d’atténuation sur son mouvement et affectant ainsi le son. 232 Chapitre 9 EVP88 Le signal de sortie du piano Rhodes, comme celui d’une guitare électrique, est plutôt faible et nécessite une forte préamplification. Le son de ce piano n’est pas riche en harmoniques. C’est pourquoi, une accentuation des aigus ou un effet d’overdrive sont plutôt les bienvenuslorsqu’ils’agit de jouersur un Rhodes. Par ailleurs, comme mentionné précédemment, les performances sont meilleures avec des amplificateurs à tube. Le piano Rhodes a également été proposé sous la forme d’un « suitcase piano » (avec préamplificateur et amplificateur combo à deux voies) et d’un piano de scène, sans amplificateur. Ces deux versions « portables » à 73 touches disposent d’un cadre en bois recouvert de vinyle et d’un couvercle en plastique. En 1973, un modèle à 88 touches a été lancé. Les versions Celeste et pour basses, de taille plus réduite, eurent moins de succès. Le couvercle du MkII (1978) était plat au lieu d’être arrondi. Cela permettait à l’instrumentiste de poser d’autres claviers sur le Rhodes. Lancé en 1984, le Mark V était même équipé d’une sortie MIDI. Le milieu des années 80 a vu la production de Rhodes diminuer, la plupart des musiciens investissant dans des synthétiseurs numériques plus souples d’emploi (et plus légers). Ces claviers pouvaient aisément émuler le son des anciens pianos, comme le Rhodes, et offraient une grande variété de nouveaux sons admirables. Les caractéristiques sonores spécifiques à chaque piano Rhodes dépendent davantage du réglage et de la maintenance de l’instrument que du modèle lui-même. Les premiers modèles disposaient de marteaux recouverts de feutre, qui leur donnaient un son plus doux que celui des modèles plus récents, dotés de marteaux recouverts de néoprène. Le « suitcase piano » était équipé d’un préamplificateur capable de créer un son avec une forte prédominance des médiums. Toutefois, une préamplification et une égalisation appropriées peuvent permettre à presque tous les pianos de scène de produire la même sonorité. Le piano de scène ne dispose pas de cordon d’alimentation, tout comme les guitares électriques. Étant donné que le MkII n’est pas doté des attaches de résonance pour les aigus que possédaient les anciens modèles, le soutien est plus faible dans les aigus. Les différences les plus importantes en termes sonores dépendent de la distance qui sépare la tige du capteur. Si la tige est rapprochée du capteur, le son de cloche caractéristique devient plus proéminent. Dansles années 80, de nombreux pianos Rhodes étaient réglés de façon à renforcer ce type de son. Modèles Rhodes : • Suitcase MkI • Suitcase V2 • Bright Suitcase • Stage Piano MkI • Stage Piano MkII Chapitre 9 EVP88 233 • Bright Stage MkII • Hard Stage MkII • MarkIV • Metal Piano • Attack Piano Les modèles Metal Piano et Attack Piano offrent des sons de qualité, pouvant être comparés à ceux desinstruments Rhodes d’origine. Bien qu’ils ne soient pas aussi réalistes, ils ont au moins partiellement atteint l’idéal que les techniciens Rhodes pouvaient rechercher lorsqu’ils concevaient leurs claviers. Piano Wurlitzer Ce célèbre fabricant de boîtes à musique et d’orgues a également construit des pianos électriques, qui ont contribué à écrire l’histoire de la musique pop et rock. Les pianos Wurlitzer de la gamme 200 sont plus petits et plus légers que les pianos Rhodes, avec un clavier de 64 touches (de A à C, soit de La à Do), ainsi qu’un amplificateur intégré et des haut-parleurs. L’action du Wurlitzer ressemble à celle d’un piano acoustique classique et est sensible à la vélocité, comme le Rhodes. Son système de génération de sons est basé sur des tiges d’acier à ressort pouvant être accordées à l’aide d’une masse de soudure. Le Wurlitzer est muni de capteurs électrostatiques : une tension de 0 volt est appliquée aux tiges qui se déplacent entre les dents d’un peigne sous tension à 150 volts. La sonorité du Wurlitzer, qui a d’abord été fabriqué au début des années 60, se caractérise par un certain nombre d’harmoniques de rang impair. Le Wurlitzer estsurtout connu pour le son de piano caractéristique du groupe Supertramp, à écouter dans leur album « Crime of the Century ». Vous reconnaîtrez aussi le son du Wurlitzer en écoutant le titre des Pink Floyd « The Dark Side of the Moon » ou « I Am the Walrus » des Beatles. Modèles Wurlitzer : • Wurlitzer 200 A • Wurlitzer 240 V • Soft Wurlitzer • Funk Piano Le modèle Funk Piano de l’EVP88 produit un son de moteur de piano synthétique spécial, avec une basse exagérée. Ce son ne repose pas sur celui des véritables instruments Wurlitzer, mais peut s’avérer très utile. 234 Chapitre 9 EVP88 Piano Hohner Electra Extrêmement rare, le piano Hohner Electra, qui ne doit pas être confondu avec le RMI Electrapiano tout électronique, est équipé de marteaux frappant les cordes, semblables à ceux du Rhodes, mais avec une mécanique du clavier plus lourde. Il a été conçu pour ressembler à un piano droit acoustique conventionnel. John Paul Jones, de Led Zeppelin, l’utilise dans « Stairway to Heaven », « Misty Mountain Hop » et « No Quarter ». Modèle Hohner Electra : • Electra Piano Chapitre 9 EVP88 235 L’EVOC 20 PolySynth combine un vocoder avec un synthétiseur polyphonique et peut être joué en temps réel. Il peut créer des sons de vocoder classiques, rendus célèbres par des artistes tels que Kraftwerk au cours des années 1970 et 1980. Le vocodage reste populaire pour certains styles actuels de musique tels que la musique électronique, le hip-hop, le rnb, etc. Le présent chapitre couvre les aspects suivants : • Fonctionnement du EVOC 20 (p 237) • Présentation de l’interface de l’EVOC 20 PolySynth (p 240) • Paramètres EVOC 20 PolySynth Sidechain Analysis (p 241) • Paramètres EVOC 20 PolySinth (U/V) Detection (p 243) • Paramètres EVOC 20 PolySynth Synthesis (p 245) • Paramètres EVOC 20 PolySynth Formant Filter (p 251) • Paramètres EVOC 20 PolySynth Modulation (p 254) • Paramètres EVOC 20 PolySynth Output (p 255) • Optimisation des performances de l’EVOC 20 PolySynth (p 256) • Brève histoire du vocoder (p 259) • Schéma de principe de l’EVOC20 (p 262) Fonctionnement du EVOC 20 L’EVOC 20 PolySynth « écoute » un signal audio entrant, en général un spectacle chanté ou parlé, et impose les caractéristiquessonores et les changements de niveau de ce signal sur le synthétiseur intégré. Lorsque vousjouez des notes et des accordssur votre clavier MIDI, le synthétiseur interne « chante » aux tonalités des notes MIDI entrantes, mais avec les articulations(changements de niveau, sons de voyelles et de consonnes) du signal audio entrant. 237 EVOC 20 PolySynth 10 Vous obtenez ainsi ces sons classiques de « robot chantant » ou de « voix synthétique » qui font la réputation des vocoders. Toutefois, l’EVOC 20 PolySynth propose davantage qu’un simple vocodage. Vous pouvez l’utiliser comme un synthétiseur ou pour un traitement d’effets plus subtil, par exemple pour la création d’harmonies vocales « presque » naturelles à partir d’une voix en solo. Si vos goûts en matière de musique sont plus extrêmes, n’hésitez pas à traiter d’autres signaux audio comme des boucles de batteries ou d’instruments. Qu’est-ce qu’un vocoder? Le terme vocoder est une abréviation de VOice enCODER (codeur de voix). Un vocoder analyse et transfère le caractère sonore du signal audio arrivant à son entrée d’analyse vers les générateurs de sons du synthétiseur. Le résultat de ce processus est entendu à la sortie du vocoder. Le son classique du vocoder utilise la voix comme signal d’analyse et un son de synthétiseur comme signal de synthèse. Ce son a été popularisé vers la fin des années 1970 et le début des années 1980. Vous le connaissez probablement grâce aux morceaux « O Superman » de Laurie Anderson, « Funky Town » de Lipps Inc. et aux nombreuses morceaux de Kraftwerk, comme « Autobahn », « Europe Endless », « The Robots » et « Computer World ». Le vocodage ne se limite pas à la production de ces sons de « robots chantants » ; il a également été utilisé dans de nombreux films, comme pour les cylons de Battlestar Galactica et, exemple célèbre, sur la voix de Dark Vador dans la saga de la Guerre des étoiles. Voir aussi Brève histoire du vocoder. Le vocodage, en tant que processus, n’est passtrictement limité aux performances vocales. Vous pouvez utiliser une boucle de batterie comme signal d’analyse afin de former un son d’ensemble à corde arrivant à l’entrée Synthesis. Fonctionnement d’un vocoder Les fonctionnalités d’analyseur et de synthétiseur d’un vocoder sont en fait constituées de deux banques de filtres de type passe-bande. Les filtres passe-bande permettent à une bande de fréquences (une tranche du spectre de fréquences global) de transiter sans être modifiée, et coupent les fréquences qui ne font pas partie de la plage de la bande. Dans les modules EVOC 20, ces banques de filtres sont nommées sections Analysis et Synthesis. Chaque banque de filtres comporte un nombre de bandes identique : si la banque de filtres d’analyse comporte cinq bandes (1, 2, 3, 4 et 5), la banque de filtres de synthèse comporte un ensemble correspondant de cinq bandes. La bande 1 de la banque d’analyse est associée à la bande 1 de la banque de synthèse, la bande 2 à la bande 2, et ainsi de suite. 238 Chapitre 10 EVOC 20 PolySynth Le signal audio qui arrive à l’entrée d’analyse passe à traversla banque de filtres d’analyse, où il est divisé en bandes. Une enveloppe de type follower est couplée avec chaque bande de filtre. L’enveloppe de type follower de chaque bande suit (follows) tout changement de volume dans la source audio ou, plus précisément, dans la partie de la source audio autorisée à passer par le filtre passe-bande associé. De cette façon, l’enveloppe follower de chaque bande génère des signaux de contrôles dynamiques. Analyse source audio Synthèse source audio Analyse banque de filtres Bande 1à 5 Synthèse banque de filtres Bande 1à 5 Envelope suiveur 1–5 VCA 1–5 Signal de contrôle 1 à 5 Sortie audio Détection U/V Ces signaux de contrôle sont alors envoyés vers la banque de filtres de synthèse où ils contrôlent les niveaux des bandes de filtres de synthèse correspondantes. Cela est effectué au moyen de VCA (Voltage Controlled Amplifiers, amplificateur commandé par tension) dans les vocoders analogiques. Les changements de volume dans la banque de filtres d’analyse sont imposéssur les bandes correspondantes de la banque de filtres de synthèse. L’auditeur perçoit ces changements de niveau de filtre comme une reproduction synthétique du signal d’entrée d’origine, ou comme un mixage des deux signaux des banques de filtres. Plus un vocoder comporte de bandes, plus la reproduction du caractère du son d’origine par la banque de filtres de synthèse est précise. L’EVOC 20 PolySynth propose jusqu’à 20 bandes par banque. Consultez Schéma de principe de l’EVOC20 pour obtenir une image détaillée du chemin du signal de l’EVOC20 Polysynth. Installation de l’application hôte EVOC 20 PolySynth Pour utiliser l’EVOC 20 PolySynth, insérez-le dans le logement Instrument d’une tranche de console d’instrument. Vous devez également fournir un signal audio comme source audio d’analyse, via un sidechain. Chapitre 10 EVOC 20 PolySynth 239 Pour installer l’EVOC 20 PolySynth dans votre application hôte 1 Insérez l’EVOC 20 PolySynth dans le logement Instrument d’une tranche de console d’instrument. 2 Choisissez une source d’entrée dansle menu Side Chain de l’en-tête du module de l’EVOC 20 PolySynth. Selon l’application hôte, cette source peut être une piste audio, une entrée live ou un bus. L’EVOC 20 PolySynth est alors prêt à accepter des données MIDI entrantes et a été assigné à une entrée, une piste audio ou un bus, via un side chain. 3 Selon vos besoins et votre application hôte, désactivez le son de la piste audio constituant l’entrée de side chain, démarrez la lecture et utilisez le clavier MIDI. 4 Ajustez les niveaux de volume de l’EVOC 20 PolySynth de la source de Side Chain (si le son n’en est pas désactivé) à votre convenance. 5 Faites vos propres expériences avec les potentiomètres, les curseurs et les autres contrôles. Amusez-vous et n’hésitez pas à insérer d’autres modules pour améliorer le son encore davantage. Présentation de l’interface de l’EVOC 20 PolySynth L’interface de l’EVOC 20 PolySynth est divisée en six sections principales de paramètres. Paramètres Formant Filter Paramètres de la section Sidechain Analysis Paramètres de la section Synthesis Paramètres U/V Detection Paramètres de la section Modulation Paramètres Output • Paramètres Sidechain Analysis: déterminent l’analyse du signal d’entrée etson utilisation par l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Sidechain Analysis. • Paramètres U/V Detection : détectent les portions non vocales du son dans le signal d’analyse, afin d’améliorer l’intelligibilité de la parole. Consultez Paramètres EVOC 20 PolySinth (U/V) Detection. 240 Chapitre 10 EVOC 20 PolySynth • Paramètres Synthesis: contrôlent le synthétiseur polyphonique de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Synthesis. • Paramètres Formant Filter : configurent les banques de filtres d’analyse et de synthèse. Consultez Paramètres EVOC 20 PolySynth Formant Filter. • ParamètresModulation : la section Modulation propose deux LFO, utilisés pour moduler le synthétiseur et les banques de filtres. Consultez Paramètres EVOC 20 PolySynth Modulation. • Paramètres Output : configurent le signal de sortie de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Output. Paramètres EVOC 20 PolySynth Sidechain Analysis Les paramètres de la section Sidechain Analysis contrôlent l’analyse et l’utilisation du signal d’entrée par l’EVOC 20 PolySynth. Réglez ces paramètres aussi précisément que possible pour obtenir les meilleurs résultats en matière d’intelligibilité de parole et de précision du suivi. • Potentiomètre Attack : détermine la vitesse à laquelle chaque enveloppe « follower », couplée à chaque bande de filtre d’analyse, réagit aux niveaux de signaux montants. Des temps Attack plus longs entraînent une réponse plus lente du suivi aux éléments transitoires (pointes de niveau) du signal d’entrée d’analyse. Un temps Attack long sur dessignaux d’entrée de type percussif (des motsscandés ou du charleston, par exemple) sont transformés en un effet de vocoder moins articulé. Il est donc recommandé de définir le paramètre Attack sur la valeur la plus faible possible afin d’améliorer l’articulation. • Potentiomètre Release : détermine la vitesse à laquelle chaque enveloppe « follower », couplée à chaque bande de filtre d’analyse, réagit aux niveaux de signaux descendants. Des temps Release plus longs prolongent les éléments transitoires du signal d’entrée d’analyse en sortie du vocoder. Un temps Release long sur des signaux d’entrée de type percussif (des mots scandés ou du charleston, par exemple) sont transformés en un effet de vocoder moins articulé. Des temps Release extrêmement courts donnent dessons de vocoder bruts et granuleux. Des valeurs Release comprises entre 8 et 10 ms constituent de bons points de départ. Chapitre 10 EVOC 20 PolySynth 241 • Bouton Freeze : lorsque ce paramètre est activé, le spectre du son analysé est maintenu, ou figé, indéfiniment. Tant que le paramètre Freeze est activé, la banque de filtres d’analyse ignore la source d’entrée et les potentiomètres Attack et Release n’ont aucun effet. Consultez Blocage du signal d’entrée de l’EVOC 20 PolySynth. • Champ Bands : détermine le nombre de bandes de fréquences (jusqu’à 20) utilisées par les banques de filtres. Consultez Réglage du nombre de bandes de banques de filtres de l’EVOC 20 PolySynth. Blocage du signal d’entrée de l’EVOC 20 PolySynth Le bouton Freeze dansla section Sidechain Analysis de l’EVOC20 PolySynth fige le spectre de sons du signal d’entrée d’analyse. Vous pouvez alors capturer une caractéristique particulière du signal, qui est ensuite imposée comme forme de filtre soutenue complexe à la section Synthesis. Voici quelques exemples d’application. • Si vous utilisez une suite de mots parlés comme source, le bouton Freeze peut capturer la phase d’attaque ou de fin d’un mot particulier, la voyelle a, par exemple. • Vous pouvez également utiliser le bouton Freeze pour compenser l’incapacité de certains chanteurs à tenir longtemps une note sans reprendre leur souffle. Si le signal de synthèse doit être tenu, alors que le signal source d’analyse (une partie vocale) ne l’est pas, le bouton Freeze peut servir à verrouiller les niveaux actuels du formant d’une note chantée, même pendant desinterruptions de la partie vocale, entre les mots d’une phrase. Il est possible d’automatiser l’utilisation du paramètre Freeze, ce qui peut être utile dans cette situation. Brève introduction aux formants Un formant est une crête dans le spectre de fréquences d’un son. Lorsque ce terme est utilisé pour les voix humaines, les formants constituent le composant clé permettant aux êtres humains de distinguer différents sons de voyelles, en se basant uniquement sur la fréquence de cessons. Lesformants de la parole et du chant humain sont produits par le conduit vocal ; la plupart des sons de voyelles contiennent au moins quatre formants. 242 Chapitre 10 EVOC 20 PolySynth Réglage du nombre de bandes de banques de filtres de l’EVOC 20 PolySynth Le champ Bands dans la section Sidechain Analysis détermine le nombre de bandes de fréquences utilisées par la banque de filtres de l’EVOC 20 PolySynth. Plusle nombre de bandes de fréquences est élevé, plusle son est remodelé avec précision. Si vousréduisez le nombre de bandes, la plage de fréquences du signalsource sera divisée en moins de bandes et le son résultant sera formé avec moins de précision par le moteur de synthèse. Le choix de 10 à 15 bandes constitue généralement un bon compromis entre l’utilisation desressources disponibles et la précision sonore, qui permet aux signaux entrants tels que la parole et les chants de rester intelligibles. Paramètres EVOC 20 PolySinth (U/V) Detection La parole humaine est constituée d’une série de sons vocaux (sons tonals ou formants) et de sons non vocaux. La différence principale entre sons vocaux et non vocaux est que les sons vocaux sont produits par une oscillation des cordes vocales, alors que les sons non vocaux sont produits par des blocages et des restrictions imposés sur le flux d’air par les lèvres, la langue, le palais, la gorge et le larynx. Si un tel discours, contenant à la fois des sons vocaux et non vocaux, est utilisé comme signal d’analyse d’un vocoder, alors que le moteur de synthèse ne peut pasles différencier, il en résulte un son sans relief. Pour éviter ce problème, la section Synthesis du vocoder doit produire des sons différents pour les parties vocales et non vocales du signal. Chapitre 10 EVOC 20 PolySynth 243 L’EVOC 20 PolySynth est donc muni un détecteur non vocal/vocal (U/V, Unvoiced/Voiced) à cet effet. Ce composant détecte les parties non vocales du son dans le signal d’analyse, puis remplace les parties correspondantes dans le signal de synthèse par du bruit, un mélange de bruit et de signal du synthétiseur ou par le signal d’origine. Si le détecteur U/V identifie des parties vocales, il transmet ces informations à la section Synthesis, qui utilise le signal de synthèse normal pour ces parties. • Potentiomètre Sensitivity : détermine la sensibilité de la détection U/V. Si vous tournez ce potentiomètre vers la droite, le détecteur U/V reconnaît davantage de parties non vocales distinctes dans le signal d’entrée. Lorsque vous utilisez des réglages élevés, la sensibilité accrue aux signaux non vocaux peut conduire à ce que la source de sons U/V (déterminée par le menu Mode comme décrit dans « Menu Mode » ci-dessous)soit utilisée sur la majeure partie du signal d’entrée, y compris les signaux vocaux. Vous obtenez alors un son ressemblant à un signal radio détérioré et contenant beaucoup de parasites et de bruit de fond. • Mode, menu : définit les sources sonores pouvant être utilisées pour remplacer le contenu non vocal du signal d’entrée. Vous avez le choix entre les options suivantes : • Noise : utilise le bruit seul pour les parties non vocales du son. • Noise + Synth : utilise le bruit et le synthétiseur pour les parties non vocales du son. • Blend : utilise le signal d’analyse, après son passage à travers un filtre passe-haut, pour les parties non vocales du son. Le paramètre Sensitivity n’a aucun effet lorsque ce réglage est utilisé. • Potentiomètre Level : contrôle le volume du signal utilisé pour remplacer le contenu non vocal du signal d’entrée. Important : faites très attention à ce contrôle, surtout si vous utilisez une valeur Sensitivity élevée, afin d’éviter toute saturation interne de l’EVOC 20 PolySynth. 244 Chapitre 10 EVOC 20 PolySynth Paramètres EVOC 20 PolySynth Synthesis L’EVOC 20 PolySynth est équipé d’un synthétiseur polyphonique, capable de recevoir des notes MIDI. Les paramètres de la section Synthesis sont décrits ci-dessous. Paramètres globaux Paramètres Tuning et Pitch Paramètres des oscillateurs Paramètres d’enveloppe Paramètres Filter • Paramètres des oscillateurs : utilisés afin de choisir les formes d’onde de base pour le moteur de synthèse de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Oscillator. • Paramètres Tuning et Pitch : contrôlent l’accord global du synthétiseur et certains aspects comme le pitch bend et le portamento. Consultez Paramètres EVOC 20 PolySynth Tuning and Pitch. • Paramètres Filter : utilisés pour définir la forme des formes d’onde de base des oscillateurs. Consultez Paramètres EVOC 20 PolySynth Filter. • Paramètres Envelope : contrôlent le niveau des phases d’attaque et de relâchement du son du synthétiseur. Consultez Paramètres EVOC 20 PolySynth Envelope. • Paramètres Global : les paramètres situés en haut à gauche de l’interface déterminent le mode du clavier et le nombre de voix utilisés par l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Global. Chapitre 10 EVOC 20 PolySynth 245 Paramètres EVOC 20 PolySynth Oscillator L’EVOC 20 PolySynth comporte deux oscillateurs qui peuvent être utilisés soit en mode Dual, soit en mode FM : Cliquez ici pour basculer entre les modes Dual et FM. • Mode Dual : chaque oscillateur vous permet de choisir une forme d’onde numérique. • Mode FM : l’oscillateur 1 génère une onde sinusoïdale. La fréquence, ou hauteur tonale, de l’oscillateur 1 est modulée par l’oscillateur 2 (pour obtenir des informations sur la synthèse FM, consultez Synthèse par modulation de fréquence (FM)). Un certain nombre de tons et d’harmoniques différents deviennent alors audibles. L’oscillateur 2 peut utiliser toute forme d’onde numérique disponible. Chaque mode influence dans une certaine mesure les paramètres affichés dansla section Oscillator. La section Synthesis comporte également un générateur de bruit qui peut ajouter davantage de couleur à votre son. Pour obtenir plus d’informations sur le mode Dual, le mode FM et le mode Noise Generator, consultez les rubriques suivantes : Paramètres Dual Mode des oscillateurs de l’EVOC 20 PolySynth Paramètres FM Mode EVOC 20 PolySynth Oscillator Paramètres EVOC 20 PolySynth Noise Generator Paramètres Common EVOC 20 PolySynth Oscillator Cette rubrique décrit les paramètres communs aux modes Dual et FM. • Boutons de valeur 16', 8' et 4' : cliquez sur ces boutons poursélectionner la plage d’octaves de l’oscillateur 1. 16' (16 pieds) correspond au réglage le plus grave et 4' au réglage le plus aigu. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus le son est profond. 246 Chapitre 10 EVOC 20 PolySynth • Champs Wave 1 et Wave 2 : faites glisser verticalement la valeur numérique située en regard des étiquettes Wave 1 et Wave 2 pour sélectionner le type de forme d’onde des oscillateurs 1 et 2 respectivement. L’EVOC 20 PolySynth dispose de 50 formes d’onde numériques à un seul cycle avec différentes caractéristiques sonores. Paramètres Dual Mode des oscillateurs de l’EVOC 20 PolySynth En mode Dual, chaque oscillateur peut utiliser l’une des 50 formes d’onde disponibles. Les paramètres Semi et Detune sont affichés en mode Dual. Curseur Balance • Champ Semi : accorde l’oscillateur 2 par pas d’un demi-ton. • Champ Detune : permet d’affiner les deux oscillateurs en centièmes. 100 cents correspondent à un demi-ton. • Curseur Balance : définit le niveau de balance entre les signaux des deux oscillateurs. Paramètres FM Mode EVOC 20 PolySynth Oscillator En mode FM, l’oscillateur 1 génère une onde sinusoïdale. Le paramètre Wave 1 n’a aucun effet dans ce mode. Curseur FM Int Les paramètres Ratio brut et fin sont affichés en mode FM. • Champ Ratio c(oarse) : ajuste le rapport de fréquences entre les oscillateurs 2 et 1 par pas d’un demi-ton. • Champ Ratio f(ine) : ajuste le rapport de fréquences entre les oscillateurs 2 et 1 en centièmes. Chapitre 10 EVOC 20 PolySynth 247 • Curseur FM Int : détermine l’intensité de la modulation. Des valeurs élevées produisent une forme d’onde plus complexe comportant davantage de sons dominants. Paramètres EVOC 20 PolySynth Noise Generator Le générateur de bruit fournit une source sonore supplémentaire pouvant être utilisée parallèlement aux deux oscillateurs. Important: le générateur de bruit de la section Oscillator est indépendant du générateur de bruit dans la zone U/V Detection. Pour en savoir plus sur les signaux vocaux et non vocaux, consultez Paramètres EVOC 20 PolySinth (U/V) Detection. • Potentiomètre Level : contrôle la quantité de bruit ajoutée aux signaux des deux oscillateurs. • potentiomètre Color : contrôle le timbre du signal de bruit. Lorsque ce potentiomètre est tourné complètement à gauche, le générateur de bruit génère un bruit blanc pur. Complètement à droite, vous entendez un bruit bleu (bruitsoumis à un filtre passe-haut). Le bruit blanc sert à créer des effets de pluie et de vent. Il a la même énergie dans chaque intervalle de fréquence. Le bruit bleu sonne d’une façon plus claire, car sa portion basse est supprimée par un filtre passe-haut. Astuce : pour obtenir un signal de synthèse plus vivant et plus frais, tournez le potentiomètre Color complètement à droite et le potentiomètre Level sur une valeur très faible. Paramètres EVOC 20 PolySynth Tuning and Pitch Les paramètres situés dans la partie inférieure gauche de l’interface sont utilisés pour contrôler l’accord global et d’autres aspects relatifs à la hauteur tonale du son de l’EVOC 20 PolySynth. • Potentiomètre Analog : simule l’instabilité des circuits analogiques des vocoders à l’ancienne en altérant aléatoirement la tonalité de chaque note. Ce comportement ressemble à celui des synthétiseurs analogiques polyphoniques. Le potentiomètre Analog contrôle l’intensité de ce désaccordage aléatoire. 248 Chapitre 10 EVOC 20 PolySynth • Champ Tune : définit l’accord global de l’EVOC 20 PolySynth, en centièmes. • Potentiomètre Glide : détermine la durée nécessaire pour que la tonalité glisse d’une note à l’autre (portamento). (Pour obtenir des informations sur le mono et le legato, consultez Paramètres EVOC 20 PolySynth Global.) • Champ Bend Range : détermine la plage de modulation du pitch bend, par pas d’un demi-ton. Paramètres EVOC 20 PolySynth Filter La section Synthesis de l’EVOC 20 PolySynth comporte un filtre passe-bas simple. Ce filtre est utilisé pour une première mise en forme du signal, avant que celui-ci ne soit mis en forme de façon plus précise par les différentes bandes des banques Formant Filter. • Potentiomètre Cutoff : définit la fréquence de coupure du filtre passe-bas. Plus vous le tournez vers la gauche, plus le nombre de hautes fréquences retirées du signal du synthétiseur est élevé. • Potentiomètre Resonance : amplifie ou coupe la portion du signal qui entoure la fréquence définie par le potentiomètre Cutoff. Astuce : réglez le paramètre Cutoff aussi élevé que possible, et poussez un petit peu le paramètre Resonance pour obtenir un son agréable et clair. Paramètres EVOC 20 PolySynth Envelope L’EVOC 20 PolySynth comporte un générateur d’enveloppe Attack/Release simple utilisé pour contrôler le niveau des oscillateurs au fil du temps. • Curseur Attack : détermine la durée nécessaire pour que les oscillateurs atteignent leur niveau maximum. • Curseur Release : détermine la durée nécessaire pour que les oscillateurs atteignent leur niveau minimum, une fois que les touches ont été relâchées. Chapitre 10 EVOC 20 PolySynth 249 Paramètres EVOC 20 PolySynth Global Les paramètres situés en haut à gauche de l’interface déterminent le mode du clavier et le nombre de voix utilisés par l’EVOC 20 PolySynth. • Bouton Poly/champ Voices : lorsque Poly est sélectionné, le nombre maximum de voix peut être défini dans le champ numérique. • Boutons Mono/Legato : lorsque Mono ou Legato est sélectionné, l’EVOC 20 PolySynth est monophonique et utilise une seule voix. • En mode Legato, la fonction Glide (consultez la section Paramètres EVOC 20 PolySynth Tuning and Pitch) est active uniquement sur les notes liées. Les enveloppes ne sont pas redéclenchées lorsque les notes liées sont jouées (single trigger, un seul déclenchement). • En mode Mono, Glide est toujours actif et les enveloppes sont redéclenchées par chacune des notes jouées (multi trigger, déclenchement multiple). • Bouton Unison : active ou désactive le mode d’unisson. • En mode Unison/Poly, où les deux boutons Unison et Poly sont activés, chaque voix de l’EVOC 20 PolySynth est doublée, ce qui réduit de moitié la polyphonie (à un maximum de 8 voix, comme l’indique le champ Voices). Les voix doublées sont désaccordées selon la valeur du potentiomètre Analog. • En mode Unison/Mono, où les deux boutons Unison et Mono ou Legato sont activés, 16 voix maximum peuvent être empilées et jouées monophoniquement. Le champ Voices affiche le nombre de voix empilées entendues. Important: l’empilement de voix en mode Unison/Mono augmente considérablement le volume en sortie de l’EVOC 20 PolySynth. Pour éviter de saturer la sortie de la tranche de console de l’instrument, vous devez définir initialement le curseur Level sur une faible valeur, puis l’augmenter progressivement (consultez Paramètres EVOC 20 PolySynth Output). 250 Chapitre 10 EVOC 20 PolySynth Paramètres EVOC 20 PolySynth Formant Filter L’EVOC 20 PolySynth comporte deux banques de filtres de formants, une pour la section Analysis et l’autre pour la section Synthesis. Chaque banque peut compter jusqu’à 20 filtres différents. Essentiellement, le spectre de fréquences complet d’un signal entrant est analysé par la section Analysis, puis réparti uniformément sur un certain nombre de bandes de fréquences. Ces bandes de filtres d’analyse correspondent à un nombre identique de bandes dans la banque de filtres de synthèse. Chaque banque de filtres contrôle les niveaux de crête (les formants) à l’intérieur de ces bandes de fréquences. Pour en savoir plus, consultez les rubriques Fonctionnement d’un vocoder et Brève introduction aux formants. Chapitre 10 EVOC 20 PolySynth 251 Vue d’ensemble des paramètres EVOC 20 PolySynth Formant Filter La fenêtre Formant Filter est divisée en deux sections par une ligne horizontale. La partie supérieure concerne la section Analysis et la partie inférieure, la section Synthesis. Les modifications des paramètres s’affichent immédiatement dans la fenêtre Formant Filter : vous bénéficiez ainsi d’un retour appréciable sur l’évolution du signal à mesure de son traitement par les deux banques de filtres de formants. Potentiomètre Formant Stretch Potentiomètre Resonance Potentiomètre Formant Shift Bouton Highest Bouton Lowest Paramètres Low Frequency Paramètres High Frequency • ParamètresHigh Frequency et LowFrequency : déterminent lesfréquencesles plus hautes et les plus basses qui traversent la section desfiltres. Lesfréquencessituées à l’extérieur de ces limites sont coupées. • La longueur de la barre bleue horizontale supérieure représente la plage de fréquences aussi bien pour l’analyse que pour la synthèse (sauf si les fonctions Formant Stretch ou Formant Shift sont utilisées, comme décrit ci-dessous). Pour déplacer l’intégralité de la plage de fréquences, faites glisser la barre bleue. Les poignées grises situées à chaque extrémité de la barre bleue définissent respectivement les valeurs Low Frequency et High Frequency. • Vous pouvez également faire glisser verticalement dansles champs numériques pour ajuster ces valeurs. 252 Chapitre 10 EVOC 20 PolySynth • Boutons Lowest et Highest : cliquez sur ces boutons pour déterminer si les bandes de filtres les plus basses et les plus hautes sont des filtres passe-bande (comme toutes les autres bandes intermédiaires) ou s’il s’agit respectivement de filtres passe-bas ou passe-haut. • Bouton Lowest : cliquez sur ce bouton pour déterminer si la bande de filtre la plus basse est un filtre passe-bande ou un filtre passe-haut. Avec le réglage Bandpass, les fréquences inférieures aux bandes les plus basses et supérieures aux bandes les plus hautes sont ignorées. Avec le réglage Highpass, toutes les fréquences inférieures aux bandes les plus basses sont filtrées. • Bouton Highest : cliquez sur ce bouton pour déterminer si la bande de filtre la plus basse est un filtre passe-bande ou un filtre passe-bas. Avec le réglage Bandpass, les fréquences inférieures aux bandes les plus basses et supérieures aux bandes les plus hautes sont ignorées. Avec le réglage Lowpass, toutes les fréquences supérieures aux bandes les plus hautes sont filtrées. • Potentiomètre Formant–Stretch : modifie la largeur et la répartition de toutesles bandes de la banque de filtres de synthèse. La plage de fréquences qui en résulte peut être plus large ou plus étroite que celle définie par les paramètres Low Frequency et High Frequency. Consultez Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth. • Potentiomètre Formant–Shift : déplace toutes les bandes dans la banque des filtres de synthèse vers le haut ou vers le bas du spectre de fréquences. Consultez Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth. • Potentiomètre Resonance : détermine le caractère sonore de base du vocoder. Des réglages bas produisent un caractère pluslisse, desréglages hauts donnent un caractère plus abrupt et plus accentué. Techniquement, le fait d’augmenter la valeur Resonance accentue la fréquence moyenne de chaque bande de fréquences. Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth Lorsque le paramètre Formant Stretch est défini sur 0, la largeur et la répartition des bandes de la banque de filtres de synthèse, en bas, correspondent à la largeur des bandes de la banque de filtres d’analyse en haut. Des valeurs basses rétrécissent la largeur de chaque bande dans la banque de filtres de synthèse alors que des valeurs élevées élargissent les bandes. Les valeurs du paramètre s’expriment sous la forme d’un rapport de la largeur de bande générale. Lorsque le paramètre Formant Shift est défini sur 0, la position des bandes de la banque de filtres de synthèse correspond à la position des bandes de la banque de filtres d’analyse. Des valeurs positives déplacent les bandes de la banque de filtres de synthèse vers le haut, en termes de fréquences, alors que des valeurs négatives les déplacent vers le bas, par rapport aux positions des bandes de la banque de filtres d’analyse. Chapitre 10 EVOC 20 PolySynth 253 Lorsqu’ils sont associés, les paramètres Formant Stretch et Formant Shift modifient la structure du formant du son de vocoder résultant, ce qui peut donner des changements de timbre intéressants. Par exemple, l’utilisation de signaux vocaux tout en réglant le paramètre Formant Shift plus haut produit un effet « Mickey Mouse ». Les paramètres Formant Stretch et Formant Shift sont également très utiles si le spectre desfréquences du signal Synthesis ne complète pas celui du signal Analysis. Vous pouvez créer un signal Synthesis dans la plage haute des fréquences à partir d’un signal Analysis qui module le son principalement dans la plage basse des fréquences, par exemple. Remarque : l’utilisation du paramètre Formant Stretch et/ou du paramètre Formant Shift peut générer des fréquences résonnantes inhabituelles si vous définissez des valeurs Resonance élevées. Paramètres EVOC 20 PolySynth Modulation La section Modulation propose deux LFO. Les LFO peuvent fonctionner librement ou être synchronisés avec le tempo de l’application hôte. • Le LFO Pitch contrôle la modulation de la tonalité des oscillateurs afin de produire des effets de vibrato. • Le LFO Shift contrôle le paramètre Formant Shift de la banque de filtres de synthèse, afin de produire des effets dynamiques de type phasing. • Curseur Int via Whl : définit l’intensité de la modulation de tonalité du LFO. La partie droite du curseur détermine l’intensité lorsque la roulette de modulation est poussée au maximum ; la partie gauche détermine l’intensité lorsque cette roulette est réglée au minimum. En faisant glisser la zone située entre les deux segments du curseur, vous pouvez déplacer les deux simultanément. Ce paramètre est attribué en permanence à la roulette de modulation de votre clavier MIDI (ou aux données MIDI correspondantes). • Potentiomètres Rate : déterminent la vitesse de la modulation. Les valeurs situées à gauche des positions centrales sont synchronisées au tempo de l’application hôte et incluent des valeurs de mesure, de triolet et autres. Les valeurs situées à droite des positions centrales sont asynchrones et sont affichées en Hertz (cycles par seconde). 254 Chapitre 10 EVOC 20 PolySynth Remarque : par exemple, vous pouvez utiliser des valeurs de mesure synchrones pour effectuer un formant shift toutes les quatre mesures, sur une partie de percussion à une mesure reprise en cycle. Vous pouvez aussi effectuer le même formant shift sur chaque croche d’un triolet à l’intérieur de la même partie. Chacune de ces méthodes peut produire des résultats intéressants et vous donner de nouvelles idées ou vous permettre d’animer du matériel audio existant. • Boutons Waveform : définit le type de forme d’onde utilisé par le LFO Pitch à gauche ou par le LFO Shift à droite. Pour chaque LFO, vous pouvez choisir parmi les types suivants : triangulaire, dent de scie descendante et montante, carrée montante et descendante autour de zéro (bipolaire, idéale pour les trilles), carrée montante à partir de zéro (unipolaire, idéale pour les changements entre deux hauteurstonales à définir), aléatoire par palier (S & H) et aléatoire lissée. • Curseur Intensity : contrôle la valeur de la modulation Formant Shift par le LFO Shift. Paramètres EVOC 20 PolySynth Output La section Output permet de contrôle le type, la largeur stéréo et le niveau du signal envoyé par l’EVOC 20 PolySynth. Cette section comporte également un processeur d’effet d’ensemble simple et efficace. • Menu Signal : détermine le signal envoyé aux sorties principales de l’EVOC 20 PolySynth. Vous avez le choix parmi les réglages suivants : • Voc(oder) : permet de produire l’effet de vocodeur. • Syn(thesis) : permet d’entendre uniquement le signal du synthétiseur. • Ana(lysis) : permet d’entendre uniquement le signal d’analyse. Remarque : ces deux derniers réglages sont utilisés principalement à des fins de monitoring. Chapitre 10 EVOC 20 PolySynth 255 • Boutons Ensemble : cliquez sur ce bouton pour activer ou désactiver l’effet d’ensemble. Ensemble I est un effet de chorus spécial. Ensemble II est une variation, créant un son plus rond et plus riche en utilisant une routine de modulation plus complexe. • Curseur Level : contrôle le volume du signal de sortie de l’EVOC 20 PolySynth. • Potentiomètre Stereo Width : répartit les signaux de sortie des bandes de filtre de la section Synthesis dans l’image stéréo. • Lorsqu’il est positionné à gauche, les sorties de toutes les bandes sont centrées. • Lorsqu’il est en position centrale, les sorties de toutes les bandes montent de gauche à droite. • Positionné à droite, la sortie des bandes est répartie, de manière alternative, sur les canaux gauche et droit. Optimisation des performances de l’EVOC 20 PolySynth Pour obtenir le meilleur effet de vocoder « classique », lessignaux d’analyse et de synthèse doivent être tout deux d’excellente qualité et les paramètres du vocoder doivent être soigneusement réglés. Les rubriques ci-dessous présentent plusieurs astuces qui vous aideront à obtenir les meilleurs résultats possibles. Modification des signaux d’analyse et de synthèse de l’EVOC 20 PolySynth Suppression des altérations sonores dans l’EVOC 20 PolySynth Paramètres FM Mode EVOC 20 PolySynth Oscillator Modification des signaux d’analyse et de synthèse de l’EVOC 20 PolySynth La section suivante vous explique comment modifier lessignaux d’analyse et de synthèse pour obtenir une meilleure intelligibilité des paroles. Compression du signal d’analyse de l’EVOC 20 PolySynth Moinsle niveau change, meilleure sera l’intelligibilité du vocoder. Il est donc recommandé de compresser le signal d’analyse dans la plupart des cas. Améliorer l’énergie des fréquences élevées D’une certaine façon, le vocoder génère toujours le point d’intersection des signaux d’analyse et de synthèse. s’il n’y a pas d’aigus dans le signal d’analyse, la sortie résultante du vocoder manquera aussi d’aigus. C’est aussi le caslorsque le signal de synthèse présente beaucoup d’aigus. Comme cela concerne chaque bande de fréquence, le vocoder exige un niveau stable dans toutes les bandes de fréquence pour les deux signaux d’entrée, afin de donner de bons résultats. 256 Chapitre 10 EVOC 20 PolySynth Du fait des caractéristiques de l’ouïe humaine, l’intelligibilité de la parole est très liée à la présence d’aigus. Pour que la parole reste claire, vous pouvez éventuellement utiliser une égalisation afin d’accentuer ou réduire certaines fréquences dans les signaux d’analyse avant de les traiter via un vocoder. Si le signal d’analyse est constitué de voix ou de parole, un simple filtre à plateau suffit généralement pour amplifier la plage de haut-médium et d’aigus, si importante pour l’intelligibilité de la parole. Si le signal de synthèse manque d’énergie dans les aigus, celle-ci peut être générée au moyen d’un effet de distorsion. L’effet Overdrive deMainStageest parfaitement adapté à cette fin. Suppression des altérations sonores dans l’EVOC 20 PolySynth Les sons d’un vocoder présentent souvent des problèmes d’interruptions soudaines du signal (sons hachés, interrompus) et d’apparition rapide de bruits pendant les pauses. Utilisation efficace des paramètres Envelope dans la section Analysis Le paramètre Release définit la durée nécessaire à une bande de fréquence de synthèse donnée pour décroître en niveau si le niveau du signal de la bande d’analyse correspondante décroît brutalement. Le son est davantage lissé si les niveaux de bande diminuent lentement. Pour obtenir ce caractère plus régulier, utilisez des valeurs de Release plus élevées dans la section Analysis de l’interface. Toutefois, n’utilisez pas de valeurs exagérément élevées car des durées Release trop longues produisent un son fade et moins distinct. Des valeurs d’Attack courtes ne sont pas un problème. Elles peuvent, en fait, être souhaitables lorsqu’une réaction rapide aux signaux entrants est nécessaire. Bloquer les bruits de fond dans le signal d’analyse Si le signal d’analyse est compressé, ce qui est recommandé, le niveau de souffle, de ronronnement et du bruit de fond augmente. Ces signaux superflus peuvent entraîner une ouverture non souhaitée des bandes du vocoder. Pour éliminer ces altérations, vous pouvez utiliser un gate de bruit avant la compression et amplifier les fréquences aiguës. Si le signal d’analyse est correctement traité par le gate, vous pourrez peut-être réduire la valeur Release (Analysis). Chapitre 10 EVOC 20 PolySynth 257 Lorsque vous traitez de la parole et des voix au moyen du module Noise Gate de MainStage, utilisez le paramètre Threshold pour définir le niveau au-dessus duquel le gate s’ouvre et le paramètre Hysteresis pour définir un niveau Threshold inférieur, en dessous duquel le gate se ferme. La valeur Hysteresis est relative au niveau Threshold. La figure ci-dessus présente un réglage Threshold bien adapté à la compression de la parole. Les filtres sidechain dédiés du module Noise Gate évitent un déclenchement intempestif par un bruit de fréquence basse ou aiguë. Les valeurs Hold, Release et Hysteresis conviennent pour la plupart des signaux vocaux et de parole. Amélioration de l’intelligibilité de la parole dans l’EVOC 20 PolySynth N’oubliez pas les points ci-dessous lorsque vous tentez d’obtenir une parole la plus intelligible possible. Les spectres des signaux d’analyse et de synthèse doivent se recouvrir presque complètement. Si vous associez des voix d’hommes graves à des signaux de synthèse aigus, vous n’obtiendrez pas de bons résultats. Le signal de synthèse doit être constamment maintenu, sans interruption. Le signal side chain entrant doit être joué ou chanté legato, car des interruptions dans le signal de synthèse arrêtent la sortie du vocoder. Une autre possibilité consiste à définir sur une durée plus longue le paramètre Release du signal de synthèse (pas celui de la section Analysis). Vous pouvez également obtenir de jolis effets en utilisant un signal de réverbération comme signal de synthèse. Notez que ces deux dernières méthodes peuvent provoquer des superpositions harmoniques. Ne pas saturer le vocoder. Cela peut se produire facilement, ce qui entraînera de la distorsion. 258 Chapitre 10 EVOC 20 PolySynth Articulez clairement si l’enregistrement doit être utilisé comme signal d’analyse. Des paroles, à une hauteur relativement basse, fonctionnent mieux que des voix chantées, même si la création d’un chœur de vocoder est votre objectif ! Prononcez bien les consonnes, comme les R roulés de « We are the Robots » de Kraftwerk, une piste de vocoder classique qui a valeur d’exemple à ce sujet. En effet, cette prononciation a été délibérément exagérée pour prendre en compte le vocoder. Réglez les paramètres Formant à votre convenance. Le décalage, l’étirement ou la compression des formants a étonnamment peu d’effet sur l’intelligibilité de la parole. Même le nombre de bandes de fréquence utilisé a une influence minimale dans ce domaine. Cela s’explique par notre aptitude à différencier intuitivement les voix d’enfants, de femmes et d’hommes, dont la boîte crânienne et la gorge varient énormément par nature. De telles différences physiques provoquent des variations danslesformants qui composent leur voix. Notre perception, ou reconnaissance, de la parole se base sur une analyse des relations entre ces formants. Dans les modules de l’EVOC 20, ces relations restent intactes, même lorsque des réglages de formant extrêmes sont utilisés. Brève histoire du vocoder Vousserez sans doute surpris d’apprendre que les voder et vocoder datent respectivement des années 1939 et 1940. Homer Dudley, un chercheur en physique des Laboratoires Bell du New Jersey développe le Voice Operated reCOrDER comme maquette de recherche. Il a été conçu à l’origine pour tester desschémas de compression pour la sécurisation de la transmission de signaux vocaux sur des lignes téléphoniques en cuivre. Il s’agit d’un appareil composite associant un analyseur et un synthétiseur de voix artificielle, comme suit : • Parallel bandpass vocoder (vocoder à bande-passante parallèle) : un analyseur de paroles et un resynthétiseur, inventé en 1940. • Vocoderspeech synthesizer(synthétiseur de paroles vocoder) : un modèle de reproduction vocale, inventé en 1939. Un opérateur humain doit actionner cette machine, activée par dessoupapes. Elle comporte deux claviers, des boutons pour recréer les consonnes, une pédale pour contrôler la fréquence de l’oscillateur et une barre de poignet pour activer et désactiver les sons des voyelles. L’analyseur détectait les niveaux d’énergie des échantillons sonores successifs mesurés sur l’ensemble du spectre des fréquences audio via une série de filtres à bande étroite. Les résultats de cette analyse pouvaient être visualisés graphiquement sous forme de fonctions de fréquence évoluant dans le temps. Chapitre 10 EVOC 20 PolySynth 259 Le synthétiseur inversait le processus en scannant les données fournies par l’analyseur et en donnant cesrésultats à un certain nombre de filtres analytiquesreliés à un générateur de bruit. Cette combinaison produisait alors des sons. Le voder a été présenté à l’Exposition Universelle de 1939, où il fit sensation. Lors de la Seconde Guerre Mondiale, le vocoder (il s’appelle alors VOice enCODER) fait preuve de son importance cruciale en brouillant les conversations transocéaniques entre Winston Churchill et Franklin Delano Roosevelt. Werner Meyer-Eppler, directeur de la faculté de phonétique à l’université de Bonn réalise l’importance de ces machines pour la musique électronique, à la suite d’une visite de H. Dudley en 1948. Meyer-Eppler utilise le vocoder comme base pour ses écrits à venir, qui inspirent ensuite le mouvement allemand « Elektronische Musik ». Dans les années 1950, quelques enregistrements suivront. En 1960, le synthétiseur Siemens a été développé à Munich. Parmi ses nombreux oscillateurs et filtres, il comportait un circuit de vocoder à lampes. En 1967, une société appelée Sylvania créait un certain nombre de machines numériques utilisant l’analyse temporelle des signaux d’entrée, plutôt que l’analyse basée sur des filtres passe-bande. En 1971, après avoir étudié l’appareil de H. Dudley, Bob Moog et Wendy Carlos modifient plusieurs modules du synthétiseur afin de créer leur propre vocoder pour la piste audio du film Orange mécanique. La société « EMS » de Peter Zinovieff, basée à Londres, développe un vocoder autonome et donc plus portatif. Cette société est probablement plus connue pour ses synthétiseurs Synthi AKS et VCS3. Le Studio Vocoder d’EMS, diffusé en 1976, est le premier appareil au monde disponible dansle commerce. Il est renommé plustard l’EMS 5000. Ses utilisateurs comprennent Stevie Wonder et Kraftwerk. Stockhausen, le pionnier allemand du mouvement « Elektronische Musik », utilisait également un vocoder EMS. Sennheiser met en vente le VMS 201 en 1977, et EMS lance l’EMS 2000, qui était une version simplifiée de son frère aîné. 1978 voit les débuts de l’usage intensif du vocoder, qui gagne en popularité grâce à la musique de Herbie Hancock, Kraftwerk, et quelques autres artistes. Cette année là, plusieurs fabricants s’engouffrent dans le créneau de la production de vocoders, notamment Synton/Bode, Electro-Harmonix et Korg, avec le VC-10. En 1979, Roland lance le VP 330, un ensemble vocoder/clavier. La fin des années 1970 et le début des années 1980 voient l’apogée du vocoder. De nombreux artistesl’utilisent, comme ELO, Pink Floyd, Eurythmics, Tangerine Dream, Telex, David Bowie, Kate Bush et bien d’autres encore. 260 Chapitre 10 EVOC 20 PolySynth Côté production, à l’époque comme aujourd’hui, les vocoders peuvent être achetés à faible coût sous forme de kits vendus par les magasins d’électronique. Depuis 1980, EMS au Royaume-Uni, Synton en Hollande et PAiA aux États-Unis sont et restent les maîtres du vocodage. En 1996, Doepfer en Allemagne et Music & More ont rejoint la grande famille desfabricants de vocoders. Depuisla fin des années 1990 jusqu’à aujourd’hui, un certain nombre de vocoderslogiciels, autonomes et intégrés sont apparus. Chapitre 10 EVOC 20 PolySynth 261 Schéma de principe de l’EVOC20 Ce schéma de principe illustre le parcours du signal dans l’EVOC 20 TrackOscillator et l’EVOC 20 PolySynth. Analyse Source Track ------------ side chain D G Stéréo vers mono TO : analyse de la hauteur tonale Sensitivity TO : Max/Quant./ Glide Section Analysis Section Synthesis Détection U/V PS : MIDI Clavier : Noise, N + Synth Synthèse Source EVOC20 PS : Polysynthétiseur Tonalité Level Plage de fréquences, de la plus élevée à la plus basse 1-5 Envelope suiveur 1-5 A B Freeze Stretch Resonance Shift Banque de filtres avec cinq bandes (exemple) Level Stereo la largeur G D Banque de filtres entrée Banque de filtres avec cinq bandes (exemple) Oscillateur contrôlé par tension 1 à 5 LFO EVOC20 TO : Oscillateur de suivi Track ou Side Chain Blend LFO Contrôle par paramètre Légende Signal audio Signal de contrôle 262 Chapitre 10 EVOC 20 PolySynth Vous pouvez utiliser le module External Instrument pour faire passer les données de vos générateurs de sons MIDI externes à travers le mélangeur, de façon à pouvoir ensuite les traiter avec des effets. Vous pouvez également utiliser le module External Instrument pour envoyer et recevoir desinformations MIDI grâce à la tranche de console d’instrument qu’il contient. Cela vous permet de contrôler un module externe, qu’ilsoit MIDI ou audio, à partir d’un seul élément. Pour éviter d’avoir à constamment patcher les périphériques, il est conseillé d’utiliser une interface audio qui prend en charge des entrées et sorties multiples. Le module External Instrument est inséré danslestranches de console d’instrument à la place d’un instrument logiciel. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface d’External Instrument (p 263) • Utilisation du module External Instrument (p 264) Présentation de l’interface d’External Instrument Cette rubrique vous familiarisera avec les paramètres d’External Instrument. Consultez la rubrique Utilisation du module External Instrument pour en savoir plussurson utilisation. • Menu local MIDI Destination : choisissez le canal et l’instrument MIDI de votre choix. 263 External Instrument 11 • Menu local Input : choisissez les entrées du matériel audio auxquelles le générateur de sons MIDI est connecté. • Curseur et champ Input Volume : déterminent le niveau du signal entrant. Utilisation du module External Instrument La piste associée à une tranche de console d’instrument, utilisée pour un module de son MIDI externe,se comporte de la même façon qu’une piste d’instrumentslogicielsstandard. Cela vous permet d’enregistrer et de lire des régions MIDI dessus, avec les avantages suivants : • Vous pouvez tirer parti des sons et du moteur de synthèse de votre module MIDI, sans augmenter la charge du processeur de votre Mac, excepté les effets utilisés dans la tranche de console. • Vous pouvez évidemment utiliser des effets d’insertion, mais également des effets d’envoi en dirigeant la tranche de console d’instrument vers des tranches de console auxiliaires. • Vous pouvez faire rebondir vos sections instrumentales MIDI externes en temps réel, avec ou sans effet, vers un fichier audio. Cela permet de créer en une seule opération une version mixée incluant l’ensemble des pistes et périphériques internes et externes. Remarque : le bounce d’une piste External Instrument ne peut pas se produire plus rapidement qu’en temps réel, comme c’est le cas pour les opérations de bounce qui impliquent du matériel MIDI. Lors de l’utilisation de sources sonores MIDI multitimbrales, vous pouvez atteindre une flexibilité maximale en utilisant plusieurs instances External Instrument. Dans cette situation, une sortie audio distincte du générateur de tonalités(en cas de sorties multiples) serait connectée à différentes entrées de votre interface audio, chacune traitée par des External Instruments individuels. Pour traiter les données d’instruments MIDI externes avec des effets 1 Connectez la sortie (ou paire de sorties) de votre module MIDI à une entrée (ou paire d’entrées) de votre interface audio. Remarque : il peut s’agir de connexions analogiques ou numériques si votre interface audio et votre générateur de sons MIDI sont équipés de l’une d’entre elles ou des deux. 2 Créez une tranche de console d’instrument. 3 Cliquez sur le logement Instrument et choisissez External Instrument dans le menu local. 4 Choisissez la destination MIDI dans le menu local de la fenêtre External Instrument. 5 Ouvrez le menu local Input et choisissez l’entrée (de votre interface audio) à laquelle le générateur de sons MIDI est connecté. 6 Réglez le volume d’entrée, si nécessaire. 264 Chapitre 11 External Instrument 7 Insérez les effets souhaités dans les logements d’insertion de la tranche de console. Chapitre 11 External Instrument 265 L’EXS24 mkII est un logiciel échantillonneur, il reproduit les fichiers audio, appelés échantillons, que vous chargez. Ces échantillons sont combinés en collections ajustées et organisées, appelées instruments de l’échantillonneur. Les instruments de l’échantillonneur étant baséssur des enregistrements audio, ils conviennent parfaitement à l’émulation de vrais instruments, des guitares, des pianos et des batteries par exemple. Le présent chapitre couvre les aspects suivants : • Fonctionnalités de EXS24 mkII (p 268) • Présentation de l’interface de l’EXS24 mkII (p 269) • À propos des instruments de l’échantillonneur EXS24 (p 270) • Présentation de la fenêtre Parameter de l’EXS24 mkII (p 272) • Utilisation du menu local EXS24 mkII Sampler Instruments (p 273) • Ajustement des paramètres globaux de l’EXS24 mkII (p 278) • Utilisation des paramètres EXS24 mkII Pitch (p 282) • Utilisation des paramètres EXS24 mkII Filter (p 285) • Paramètres EXS24 mkII Output (p 288) • Utilisation de la modulation de l’EXS24 mkII (p 289) • Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII (p 304) • Créations d’instruments, de zones et de groupes de l’EXS24 mkII (p 307) • Modification de zones et de groupes de l’EXS24 mkII (p 313) • Réglage des paramètres de zone de l’EXS24 mkII (p 316) • Utilisation des paramètres EXS24 mkII Zone Loop (p 319) • Réglage des paramètres EXS24 mkII Group (p 320) • Utilisation des paramètres EXS24 mkII Advanced Group Selection (p 322) • Édition graphique des zones et des groupes de l’EXS24 mkII (p 324) • Enregistrer, renommer et exporter des instruments de l’EXS24 mkII (p 326) • Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII (p 327) 267 EXS24 mkII 12 • Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII (p 329) • Importation des instruments de l’échantillonneur de l’EXS24 mkII (p 329) • Gestion des instruments de l’échantillonneur EXS24 (p 339) • Réglage des Préférences Sampler de l’EXS24 mkII (p 341) • Configuration de la mémoire virtuelle de l’EXS24 mkII (p 344) • Gestion avancée de la RAM de l’EXS24 mkII (p 346) • Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII (p 347) Fonctionnalités de EXS24 mkII L’EXS24 mkII est utilisé pour lire, modifier et créer des instruments de l’échantillonneur. Il est possible d’assigner certaines plages de notes et de vélocité aux échantillons des instruments de l’échantillonneur, puis de les traiter à l’aide des filtres et des modulateurs de l’EXS24 mkII. L’EXS24 mkII offre de puissantes fonctions de modulation et de montage pour un instrument de ce type, c’est également un synthétiseur flexible. Cela vous permet de créer des sons expressifs en utilisant les échantillons comme des « formes d’onde » d’un synthétiseur de base. L’EXS24 mkII peut être utilisé comme un instrument mono/stéréo ; vous avez également la possibilité de router les échantillons chargés vers plusieurs sorties. Vous pouvez ainsi traiter séparément des sons de batterie distincts dans une batterie par exemple. Vous pouvez utiliser des échantillons d’une durée quasiment illimitée dans l’EXS24 mkII, en les « diffusant » directement à partir d’un disque dur. Cela vous permet d’accéder à un grand nombre de bibliothèques d’échantillons multigigaoctet parmi celles disponibles. L'EXS24 mkllfournit une bibliothèque étendue d’instruments de l’échantillonneur, notamment piano, cordes, guitare acoustique et électrique, batterie et bien d’autressons. Si vous souhaitez étendre votre répertoire sonore, le format de fichier natif de l’EXS24 mkII ou format EXS, est pris en charge par la plupart des fournisseurs de bibliothèques d’échantillons. Il est également possible d’importer des instruments de l’échantillonneur dans les formats de fichiers d’échantillons AKAI S1000 et S3000, SampleCell, Gigasampler, DLS et SoundFont2. 268 Chapitre 12 EXS24 mkII Présentation de l’interface de l’EXS24 mkII L’interface de l’EXS24 mkII est divisée en deux fenêtres : • Fenêtre Parameter : c’est la fenêtre principale de l’EXS24 mkII. Elle est utilisée pour charger des instruments et offre plusieurs options de synthèse et de modulation qui vous permettent d’adapter vos sons d’instrument de l’échantillonneur. • Fenêtre Instrument Editor : elle permet de créer et de modifier des instruments de l’échantillonneur. Chapitre 12 EXS24 mkII 269 À propos des instruments de l’échantillonneur EXS24 Un instrument de l’échantillonneur correspond au type de fichier chargé dansl’EXS24 mkII. Chargez desinstruments de l’échantillonneur à l’aide du menu local Sampler Instruments qui se situe juste au-dessus du potentiomètre Cutoff dans l’EXS24 mkII. Lorsque vous sélectionnez un instrument échantillonné, lesfichiers audio associéssont automatiquement trouvés sur le (ou les) disque(s) dur(s) et chargé(s) dans la mémoire RAM de votre ordinateur. Un instrument de l’échantillonneur indique à l’EXS24 mkII les échantillons ou fichiers audio à utiliser, ainsi que la façon dont ils doivent être organisés en zones et en groupes. Vous pouvez lire et enregistrer l’instrument de l’échantillonneur chargé de la même manière qu’avec tout instrument logiciel. Consultez les rubriques Vue d’ensemble des zones et des groupes de l’EXS24 mkII et Différences entre les instruments de l’échantillonneur et les réglages de l’EXS24. Vue d’ensemble des zones et des groupes de l’EXS24 mkII Un instrument échantillonné est constitué de zones et de groupes : • Une zone est un emplacement dans lequel un échantillon unique ou fichier audio peut être chargé à partir d’un disque dur. • Les zones peuvent être attribuées à des groupes, qui offrent des paramètres vous permettant de modifiersimultanément toutesles zones du groupe. Vous pouvez définir autant de groupes que vous le souhaitez. Pour plus d’informationssur les zones et les groupes, consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes. L’EXS24 mkII est compatible avec les formats de fichiers audio suivants :AIFF, WAV, SDII et CAF. Chaque fichier audio est chargé dans l’EXS24 mkII comme échantillon distinct. Chaque fichier audio est ensuite automatiquement attribué à une zone dans la fenêtre Instrument Editor de l’EXS24 mkII. Ces zones peuvent ensuite être modifiées et organisées en instruments de l’échantillonneur. Pour plus d’informations sur l’utilisation des fichiers audio dans les zones, consultez Modification de zones et de groupes de l’EXS24 mkII. Important : les fichiers audio réels eux-mêmes ne se trouvent pas dans un instrument de l’échantillonneur. Ce dernier stocke uniquement les informations relatives au nom des fichiers audio, aux réglages des paramètres et aux emplacements sur le disque dur. Si vous supprimez ou renommez un fichier audio, tout instrument de l’échantillonneur utilisant ce fichier ne sera pas capable de le retrouver. Pensez-y lorsque vous effectuez ces opérations sur des fichiers audio. Vous pouvez toutefois déplacer des fichiers audio vers un autre emplacement sur votre système. L’EXS24 mkII pourra retrouver les fichiers déplacés une fois les instruments de l’échantillonneur chargés. 270 Chapitre 12 EXS24 mkII Différences entre les instruments de l’échantillonneur et les réglages de l’EXS24 Les instruments de l’échantillonneur sont distincts des réglages du module, qui sont chargés et enregistrés dans l’en-tête de fenêtre du module. Tous présentent leurs avantages et leursinconvénients pour la gestion des valeurs de paramètre dansla fenêtre Parameter. En général, vous pouvez stocker les réglages actuels de la fenêtre Parameter dans l’instrument de l’échantillonneur chargé. Cela remplace les réglages actuellement enregistrés dans l’instrument de l’échantillonneur chargé. Vous pouvez également enregistrer un nouvel instrument de l’échantillonneur. Par comparaison, un réglage du module stocke tous les réglages de paramètre dans la fenêtre Parameter, mais ces réglages sont distincts de l’instrument de l’échantillonneur en cours de chargement. Un réglage du module contient simplement un pointeur vers un instrument associé, ce qui signifie que le chargement d’un réglage charge également l’instrument de l’échantillonneur attribué. Pourquoi donc existe-t-il des réglages du module si vous pouvez stocker les valeurs de la fenêtre Parameter dans les instruments de l’échantillonneur ? La séparation entre les réglages du module et les instruments de l’échantillonneur vous permet d’utiliser les instruments de l’échantillonneur comme si vous utilisiez des formes d’onde dans un synthétiseur. Par exemple, vous pouvez créer un réglage du module avec des valeurs de paramètre de filtre, de modulation et d’enveloppe de type guitare. Vous pouvez ensuite utiliser le menu local Sampler Instruments pour charger un instrument (sans aucun réglage existant), tel qu’une flûte, pour créer un son de flûte pincé ou raclé. Important : pour utiliser des instruments de l’échantillonneur comme décrit, il est nécessaire qu’ils ne contiennent aucun réglage. Pour supprimer les réglages d’un instrument de l’échantillonneur 1 Commencez par créer une copie de l’instrument de l’échantillonneursouhaité en utilisant la commande Options > Save instrument as (consultez Utilisation des commandes du menu local EXS24 mkII Options). 2 Supprimez les réglages de l’instrument copié en utilisant la commande Options > Delete settings from instrument. Remarque : touslesinstruments de l’échantillonneur fournis avec MainStage contiennent des réglages. Vous devez donc suivre les étapes ci-dessus pour utiliser ces instruments comme indiqué. Chapitre 12 EXS24 mkII 271 Présentation de la fenêtre Parameter de l’EXS24 mkII La fenêtre Parameter de l’EXS24 mkII permet de modifier et de contrôler l’ensemble de l’instrument de l’échantillonneur chargé. Le contrôle sur les échantillonsindividuels(zones) ou les échantillons groupés s’effectue dans la fenêtre Instrument Editor (consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes). Paramètres globaux Paramètres Output Paramètres de modulation et de contrôle Champ des instruments Paramètres Pitch Paramètres Filter de l’échantillonneur Paramètres globaux Routeur de modulation Les groupes de paramètres suivants sont disponibles : • Champ et menu local Sampler Instruments : cliquez dessus pour accéder à vos bibliothèques d’instruments de l’échantillonneur et les charger. Le nom de l’instrument de l’échantillonneur chargé s’affiche dansle champ. Les boutons associés Edit et Options se trouvent sur la droite. Consultez Utilisation du menu local EXS24 mkII Sampler Instruments. • Paramètres globaux : ils permettent de sélectionner et de configurer des instruments de l’échantillonneur, de définir la polyphonie, de définir des fondus enchaînés, etc. Consultez Ajustement des paramètres globaux de l’EXS24 mkII. • Paramètres Pitch : ils permettent de régler l’accord, la transposition et le comportement de Pitch Bend. Consultez Utilisation des paramètres EXS24 mkII Pitch. • Paramètres Filter : ils permettent de façonner la couleur tonale de l’instrument de l’échantillonneur chargé. Consultez Utilisation des paramètres EXS24 mkII Filter. • ParamètresOutput: ils permettent de contrôler le niveau et la mise à l’échelle du clavier de l’instrument de l’échantillonneur chargé. Consultez Paramètres EXS24 mkII Output. 272 Chapitre 12 EXS24 mkII • Routeur de modulation : la bande qui traverse le centre de l’interface est le routeur de modulation. Le routeur lie les sources de modulation, telles que les enveloppes et d’autres paramètres affichés dans la partie inférieure de l’interface, à des destinations de modulation, telles que les oscillateurs et lesfiltres. Consultez Présentation du routeur de modulation de l’EXS24 mkII. • Paramètres de modulation et de contrôle : dans la zone qui se trouve immédiatement sous le routeur, vous pouvez attribuer et ajuster les paramètres de modulation et de contrôle (les LFO et les enveloppes). Consultez Utilisation de la modulation de l’EXS24 mkII. Utilisation du menu local EXS24 mkII Sampler Instruments L’EXS24 mkII est fourni avec une bibliothèque d’instruments échantillonnés prête à l’emploi. Cette rubrique présente l’utilisation du menu local Sampler Instruments. Consultez également les rubriques Chargement d’instruments de l’échantillonneur EXS24 à partir d’un autre emplacement et Recherche d’instruments de l’échantillonneur EXS24. Les boutons Edit et Options, affichés à droite du champ Sampler Instruments sont traités dans les rubriques Ouverture de l’Éditeur d’instruments de l’EXS24 mkII et Utilisation des commandes du menu local EXS24 mkII Options. Pour charger un instrument, procédez comme suit 1 Cliquez sur le champ Sampler Instruments pour ouvrir le menu local du même nom. Cliquez ici pour ouvrir le menu des instruments de l’échantillonneur. 2 Choisissez l’instrument de l’échantillonneur souhaité. Chapitre 12 EXS24 mkII 273 À propos des emplacements de stockage des échantillons EXS24 Pour apparaître dans le menu local EXS24 mkII Sampler Instruments, les instruments doivent être stockés dans le sous-dossier « Instruments de l’échantillonneur » de l’un des dossiers suivants : • ~/Bibliothèque/Application Support/Logic : emplacement de stockage desinstruments édités ou définis par l’utilisateur. • /Bibliothèque/Application Support/Logic : emplacement d’installation des instruments EXS fournis par l’usine. • /Applications/Logic 6 Series : emplacement de stockage des instruments EXS créés avec Logic 6 Series. • …/Nom_projet : MainStage recherche également les instruments EXS dans le dossier du projet. Remarque : les instruments échantillonnés peuvent être stockés dans n’importe quel dossier des différents disques durs de votre ordinateur. Créez simplement un alias pointant vers ce dossier dans un sous-dossier « Instruments de l’échantillonneur » (dans l’un des chemins répertoriés ci-dessus) et les instruments s’affichent dans le menu local Sampler Instruments. Pour atteindre l’instrument suivant ou précédent au sein de votre bibliothèque d’instruments de l’échantillonneur Procédez de l’une des manières suivantes : µ Cliquez sur le bouton plus ou moins, de part et d’autre du menu local Sampler Instruments. µ Cliquez sur Instrument suivant ou sur Instrument précédent dans le menu local Sampler Instruments (ou utilisez les raccourcis clavier Instrument EXS suivant ou Instrument EXS précédent). Si l’EXS24 mkII est la fenêtre de focalisation sur les notes, vous pouvez également utiliser les raccourcis clavier suivants : • Réglage de module ou d’instrument EXS suivant • Next Channel Strip or Plug-In Setting or EXS Instrument • Réglage de module ou instrument EXS précédent • Réglage de tranche de piste ou Programme ou instrument EXS précédent 274 Chapitre 12 EXS24 mkII Astuce : vous pouvez également naviguer dans vos instruments de l’échantillonneur à l’aide du clavier MIDI. Dans la fenêtre Sampler Preferences, il existe deux options, Instrument EXS précédent et Instrument EXS suivant. Elles vous permettent d’assigner un événement MIDI (par exemple, une note MIDI), de contrôler ou programmer un changement, etc., poursélectionner l’instrument de l’échantillonneur précédent ou suivant dans le menu local Sampler Instruments. Consultez Réglage des Préférences Sampler de l’EXS24 mkII. Chargement d’instruments de l’échantillonneurEXS24 à partir d’un autre emplacement Vous pouvez charger manuellement des instruments de l’échantillonneur qui ne sont pas affichés dansle menu local Sampler Instruments. Vous pouvez effectuer cette opération à partir du menu local Instrument de la fenêtre Instrument Editor. Pour charger des instruments échantillonnés à partir d’unautre emplacement, procédez comme suit 1 Ouvrez l’Éditeur d’instruments en cliquant sur le bouton Edit dans le coin supérieur droit de la fenêtre Parameter. 2 Sélectionnez Instrument > Open, puis recherchez l’instrument souhaité dans la zone de dialogue. Recherche d’instruments de l’échantillonneur EXS24 Pour réduire le nombre d’instruments de l’échantillonneur affichés dans le menu local Sampler Instruments, vous pouvez utiliser la fonction Rechercher. Apparaissent alors dans le menu local Sampler Instruments uniquement le nom des instruments de l’échantillonneur qui contiennent le terme recherché. Pour rechercher des instruments échantillonnés, procédez comme suit 1 Cliquez pour ouvrir le menu local Sampler Instruments, puis sélectionnez Rechercher. 2 Saisissez le terme recherché dans la fenêtre Filter. Chapitre 12 EXS24 mkII 275 Pour désactiver le filtre de recherche, procédez comme suit µ Sélectionnez Effacer recherche dans le menu local Sampler Instruments. L’intégralité du menu local Sampler Instruments s’affiche, mais le terme recherché saisi dans la fenêtre Filtern’est pas effacé. Pour revenir au menu restreint, sélectionnez Activer la recherche dans le menu local Sampler Instruments. Vous pouvez ainsi passer de l’un à l’autre sans avoir à ressaisir le terme recherché. Pour effectuer une recherche différente µ Sélectionnez à nouveau la commande Rechercher etsaisissez le terme recherché souhaité. Ouverture de l’Éditeur d’instruments de l’EXS24 mkII Cliquez sur le bouton Edit situé à droite du menu local Sampler Instruments pour ouvrir l’instrument de l’échantillonneur chargé dansla fenêtre Instrument Editor de l’EXS24 mkII. La fenêtre Instrument Editor offre un contrôle précis de chaque échantillon ou zone, dans l’instrument de l’échantillonneur. Remarque : le fait de cliquer sur le bouton Edit lorsqu’aucun instrument de l’échantillonneur n’est chargé ouvre également la fenêtre Instrument Editor et crée automatiquement un nouvel instrument (vide) de l’échantillonneur. Pour obtenir desinformations détaillées, consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes. Utilisation des commandes du menu local EXS24 mkII Options Cliquez sur le bouton Options dans le coin supérieur droit de la fenêtre Parameter. Cette opération ouvre le menu local Options, qui contient les commandes suivantes : • Rappelerle réglage par défaut de l’EXS : rétablit un réglage neutre de tousles paramètres de la fenêtre Parameter. Cela vous fournit une bonne « base de départ » pour le réglage des paramètres de votre instrument de l’échantillonneur. • Rappeler les réglages de l’instrument : rétablit les réglages d’origine des paramètres de l’instrument échantillonné chargé. Ce paramètre s’avère utile si vous avez fait preuve d’excès de zèle dans vos modifications et que vous souhaitez revenir aux réglages d’origine des paramètres de l’instrument de l’échantillonneur. • Enregistrer les réglages de l’instrument : stocke les valeurs de paramètres actuelles de la fenêtre Parameter dans le fichier de l’instrument de l’échantillonneur. Ces valeurs sont rappelées lorsque l’instrument est rechargé. 276 Chapitre 12 EXS24 mkII • Supprimer les réglages de l’instrument : supprime les réglages stockés (valeurs de la fenêtre Parameter) du fichier de l’instrument de l’échantillonneur. • Renommer instrument : ouvre une zone de dialogue d’enregistrement de fichier qui vous permet de renommer l’instrument chargé. Le nom de l’instrument existant est supprimé. • Enregistrer instrument comme : ouvre une zone de dialogue d’enregistrement de fichier qui vous permet de saisir un autre nom pour l’instrument chargé. Cela conserve le nom et le fichier d’instrument de l’échantillonneur d’origine et crée un nouvel instrument de l’échantillonneur (une copie). Remarque : très utile, cette option vous garantit le fonctionnement attendu de n’importe quel projet ou modèle utilisant l’instrument de l’échantillonneur avec son nom d’origine. • Supprimer instrument : supprime l’instrument de l’échantillonneur chargé. • (Rappeler le réglage par défaut de l’EXS24 mkI) : rappelle les réglages des paramètres des instruments de l’échantillonneur créés dans l’ancienne version de l’EXS24, notamment les chemins de modulation (consultez Chemins de modulation de l’EXS24 mkI). Ce paramètre est inutile pour les instruments de l’échantillonneur créés dans l’EXS24 mkII. • Extraire régions MIDI de l’instrument ReCycle : extrait les régions contenues dans un instrument ReCycle. Si aucun instrument ReCycle n’estsélectionné, cette option apparaît en grisé. Consultez Conversion de fichiers ReCycle en instruments EXS. • Conversion AKAI : lance la fenêtre AKAI Convert (consultez Conversion des fichiers AKAI avec l’EXS24 mkII). • Conversion SoundFont, Conversion SampleCell, ConversionDLS, ConversionGiga : chacune de ces commandes lance une zone de dialogue expliquant comment effectuer ces conversions. Pour en savoir plus, consultez Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler. • Préférences : ouvre les préférences de l’EXS24 mkII (consultez Réglage des Préférences Sampler de l’EXS24 mkII). • Mémoire virtuelle : ouvre une fenêtre de configuration pour les fonctions de mémoire virtuelle de l’EXS24 mkII. La mémoire virtuelle autorise la lecture d’échantillons d’une durée quasiment illimitée grâce à la diffusion audio directement à partir du disque dur en tempsréel. Pour en savoir plus, voir Configuration de la mémoire virtuelle de l’EXS24 mkII. La fenêtre de mémoire virtuelle vous permet également d’activer l’accès direct à la mémoire système pour l’EXS24 mkII, dans les systèmes présentant une RAM de 5 Go ou plus. Consultez Gestion avancée de la RAM de l’EXS24 mkII. Chapitre 12 EXS24 mkII 277 Ajustement des paramètres globaux de l’EXS24 mkII Ces paramètres affectent le comportement général de l’EXS24 mkII. Les paramètres globaux se trouvent dans le coin supérieur gauche de l’interface. Champ Vel Offset Paramètres Crossfade Champ Hold via Boutons du mode clavier Champs Voices/Used Bouton Unison • Boutons Keyboard Mode : bascule l’EXS24 mkII entre les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Keyboard de l’EXS24 mkII. • Bouton Unison : active ou désactive le mode Unison. Consultez Utilisation du mode Unison dans l’EXS24 mkII. • Champs Voices/Used : le champ Voices détermine le nombre maximal de notes pouvant être jouées simultanément. Le champ Used est un moniteur en temps réel qui indique le nombre de voix qui sont actuellement utilisées lorsque vous jouez du clavier. Consultez Réglage du paramètre EXS24 mkII Voices. • Champ Vel Offset : augmente ou diminue la valeur de vélocité de la note MIDI entrante de ± 127, développant ou limitant la réponse dynamique de l’EXS24 mkII aux événements des notes MIDI entrantes. • ChampHold via : détermine la source de modulation utilisée pour déclencher la fonction de la pédale Soutien (toutes les notes jouées sont maintenues et leur message de fin de note est ignoré tant que la valeur de la source de modulation reste supérieure à 64). La valeur par défaut est le numéro de contrôleur MIDI CC 64 (numéro de contrôleur standard MIDI « Suspendre/Tenir »). • Paramètres Crossfade : permettent d’effectuer des fondus enchaînés entre des échantillons superposés (zones), avec des plages de vélocité adjacentes. Consultez Utilisation des paramètres EXS24 mkII Crossfade (Xfade). 278 Chapitre 12 EXS24 mkII Sélection du mode Keyboard de l’EXS24 mkII Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme un orgue ou un piano. Les cuivres ou les instruments à anche sont monophoniques, autrement dit, vous ne pouvez jouer qu’une seule note à la fois. L’EXS24 mkII vous permet de sélectionner un mode de clavier approprié pour le type d’instrument chargé. Vous êtes libre d’utiliser un mode monophonique pour des instruments polyphoniques, ce qui permet de jouer des styles qui sont impossibles avec des instruments de ce type. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (si vous appuyez sur une nouvelle note tout en maintenant une autre enfoncée), les générateurs d’enveloppe ne sont déclenchés qu’à la première note jouée legato et leurs courbes poursuivent leur évolution jusqu’à ce que vous relâchiez la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Comportement Glide dans différents modes de clavier En mode Legato, la fonction Glide n’est active que sur les notes liées. Les enveloppes ne sont pas redéclenchées lorsque vous jouez des notes liées ; en d’autres termes, lorsque plusieurs notesliéessont jouées, il n’y a qu’un seul déclenchement d’enveloppe. Pour en savoir plus sur la fonction Glide, consultez Utilisation des paramètres EXS24 mkII Pitch. En mode Mono, la fonction Glide est toujours active et les enveloppessont redéclenchées à chaque note jouée. Utilisation du mode Unison dans l’EXS24 mkII En mode Unison, plusieurs voix de l’EXS24 mkII sont jouées lorsque vous enfoncez une touche. Cela permet un son plus riche, obtenu en désaccordant légèrement chaque voix. C’est l’idéal lors de l’émulation de synthétiseurs analogiques classiques. Chapitre 12 EXS24 mkII 279 Pour activer le mode Monophonic Unison µ Activez le mode Mono ou Legato et activez également le bouton Unison : • l’intensité de l’effet d’unisson dépend du nombre sélectionné dans le champ des paramètres Voice. Augmentez la valeur Voices pour un son plus gras. • L’intensité du désaccord (déviation de la voix)se règle par l’intermédiaire du paramètre Random (consultez la rubrique Utilisation des paramètres EXS24 mkII Pitch). Pour utiliser l’EXS24 mkII en mode Monophonic Unison µ Activez les boutons Poly et Unisson. • En mode Poly/Unisson, chaque note jouée est effectivement doublée ou, plus exactement, la valeur de polyphonie du paramètre Voice est divisée en deux. Vous entendez ensuite ces deux voix lorsque vous déclenchez la note. En activant Poly et Unisson, vous obtenez le même effet qu’en réglant l’EXS24 mkII sur Mono/Unisson (Voix = 2), mais vous pouvez jouer polyphoniquement. Les voix sont réparties de manière égale dans le champ Panorama et sont désaccordées de la même manière. La valeur du potentiomètre Random. détermine la déviation d’accord entre les voix. Remarque : le nombre de voix effectivement utilisées par note augmente proportionnellement au nombre de zones comprenant dessuperpositions d’échantillons. Réglage du paramètre EXS24 mkII Voices Ce paramètre détermine le nombre maximal de voix (polyphonie) que l’EXS24 mkII peut jouer. Le champ Used est un moniteur en temps réel qui indique le nombre de voix qui sont actuellement utiliséeslorsque vousjouez du clavier. Si les deux champs ont tendance à indiquer en permanence la même valeur (provoquant sans doute une perte audible de nombre de voix), il est souhaitable de régler une valeur plus élevée pour Voix. 280 Chapitre 12 EXS24 mkII Utilisation des paramètres EXS24 mkII Crossfade (Xfade) Les paramètres Xfade vous permettent d’effectuer des fondus enchaînés entre des échantillons superposés, appelés zones dans l’EXS24 mkII, avec des plages de vélocité adjacentes. Si vous ne connaissez pas bien le concept des échantillons de superposition, consultez Superposition de zones de l’EXS24 mkII. • Champ Amount : développe la plage de vélocité de toutes les zones en appliquant une valeur identique à chaque zone superposée. Le fondu enchaîné se produit au sein de la zone de la plage de vélocité étendue. Lorsque le paramètre Amount est réglé sur 0, l’EXS24 mkII passe simplement d’une zone à une autre. Remarque : vous pouvez également définir d’autres sources de modulation, telles que la roulette de modulation de votre clavier MIDI, afin de moduler le paramètre Amount. Le cas échéant, le paramètre Amount continue de fonctionner de la même façon, mais le fondu enchaîné n’est pas déclenché par la vélocité mais par la roulette de modulation. • Menu local Type : fournit trois courbes de fondu différentes. Sélectionnez le type de courbe souhaité pour votre fondu enchaîné de vélocité : • dB lin (dB linear) : courbe logarithmique qui effectue des fondus enchaînés réguliers entre les zones. • linear (gain linear) : courbe de fondu enchaîné convexe avec un fondu de volume rapide vers la fin. • Eq. Pow(equal power) : courbe non linéaire avec une augmentation de niveau rapide au début du fondu. Ce paramètre est utile lorsque l’intensité du volume d’un fondu enchaîné semble baisser au milieu. Chapitre 12 EXS24 mkII 281 Superposition de zones de l’EXS24 mkII Lors de l’assignation d’un échantillon à une zone, vous pouvez définir la vélocité de note MIDI la plus basse et la plus haute qui aura pour effet de déclencher cette zone. La zone comprise entre ces deux valeurs est appelée « plage de vélocité » de la zone. Vous pouvez superposer des zones (des échantillons différents) sur la même note de clavier et les déclencher individuellement en jouant à des vélocités différentes. Par exemple, imaginez que vous avez superposé deux échantillons (zone 1 et zone 2) sur la note MIDI A#2 (La#2). • Zone 1 est un échantillon d’une caisse claire frappée de manière légère et un peu décentrée. Elle présente une plage de vélocité de note MIDI de 24 à 90. • Zone 2 est un échantillon d’une caisse claire frappée énergiquement au centre de la peau de frappe. Elle présente une plage de vélocité de 91 à 127. Comme vous pouvez le constater, la valeur maximale de la plage de vélocité de la zone 1 et la valeur minimale de la plage de vélocité de la zone 2 sont adjacentes. Si vous deviez jouer la note A#2 (La#2) à des vélocités supérieures ou inférieures à une valeur de 90, vous entendriez clairement le déclenchement de chaque échantillon. Pour rendre cette transition moins abrupte, vous pouvez utiliser des paramètres de fondu enchaîné afin de passer en douceur d’une zone à une autre. Lorsque vous disposez d’échantillons audio très différents dans des zones adjacentes, le fondu enchaîné s’avère très utile pour créer des instruments de l’échantillonneur réalistes. Utilisation des paramètres EXS24 mkII Pitch Ces paramètres ajustent l’accord et la transposition de l’instrument de l’échantillonneur chargé. • Potentiomètre Tune : augmente ou diminue la hauteur tonale de l’instrument de l’échantillonneur chargé par incréments de demi-tons. En position centrée, définie en cliquant sur le petit bouton 0, aucun changement de hauteur tonale ne se produit. 282 Chapitre 12 EXS24 mkII • Champ Transpose : transpose l’EXS2 mkII par incréments de demi-tons. Ce paramètre affecte non seulement la hauteur tonale, mais déplace également les zones par la valeur spécifiée. • Potentiomètre Random: dose le désaccord aléatoire appliqué à chaque voix jouée. Vous pouvez utiliser Aléat. pour simuler la dérive d’accord des synthétiseurs analogiques ou pour épaissir le son, ce qui est particulièrement efficace lors de l’émulation de certains instruments à cordes. • Potentiomètre Fine : affine l’instrument de l’échantillonneur chargé par incréments en centièmes (1/100e de demi-ton). Vous pouvez l’utiliser pour corriger des échantillons qui sont légèrement désaccordés ou pour créer un effet de style chœur épais. • Menus locaux Pitch Bend Up et Pich Bend Down : déterminent la limite supérieure et inférieure de la modulation de hauteur (en demi-tons) pouvant être définie en actionnant la roulette Pitch Bend de votre clavier. Si la valeur est définie sur 0, les Pitch Bends sont désactivés. Remarque : lorsque vous sélectionnez le mode Link dans le menu Pitch Bend Down situé à droite, la plage de bend est identique dans les deux sens, si vous assignez un bend ascendant de 4 demi-tons, le bend descendant sera également défini sur 4 demi-tons, ce qui entraîne une plage de bends combinés de 8 demi-tons (9, si vous incluez la hauteur tonale standard ou la position « no bend »). • Champ Remote : ce champ permet de modifier la hauteur tonale d’instruments EXS24 mkII complets en tempsréel. Vous pouvez définir une note sur votre clavier MIDI, utilisée comme hauteur tonale d’origine ou de « référence ». Une fois définie, le fait de jouer n’importe quelle touche située à ± 1 octave au-dessus ou en dessous de cette touche modifie la hauteur tonale de tout l’instrument, au lieu de déclencher l’échantillon. Cela ressemble un peu à la fonction Pitch Bend, mais quantifiée en demi-tons. • Curseurs Glide et Pitcher : le curseur Glide détermine le temps requis pour glisser d’une hauteur tonale de note à une autre. Son comportement dépend du réglage du paramètre Pitcher : • lorsque ce dernier est centré, le paramètre Glide détermine la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre, ce que l’on appelle le portamento. • Lorsque le paramètre Pitcher est réglé sur une position au-dessus de sa valeur centrée, le paramètre Glide détermine la durée nécessaire à la hauteur tonale pour repasser de cette valeur supérieure à sa valeur normale. • Lorsque le paramètre Pitcher est réglé sur une position en dessous de sa valeur centrée, la hauteur tonale glisse de ce réglage inférieur pour remonter à la valeur de hauteur tonale normale. Chapitre 12 EXS24 mkII 283 La paramètre Pitcher peut être modulé en fonction de la vélocité : la moitié supérieure du curseur détermine le réglage correspondant à la valeur maximale de vélocité, la moitié inférieure celui qui correspond à la valeur minimale de vélocité. En faisant glisser la souris dans la zone située entre les deux segments du curseur, vous pouvez déplacer les deux simultanément. Lorsque la moitié supérieure du curseur Pitcher est réglée au-dessus de la position centrale et la moitié inférieure en dessous de cette position, les valeurs de vélocité inférieures font remonter la hauteur tonale vers la hauteur d’origine de la note, tandis que les valeurs supérieures font retomber ce réglage supérieur à la hauteur tonale d’origine. En d’autres termes, la polarité de l’enveloppe de hauteur tonale peut être modifiée en fonction des valeurs de vélocité. Lorsque les deux moitiés du curseur Pitcher sont réglées en dessous ou au-dessus de la position centrale, une vélocité basse ou élevée fera glisser la hauteur tonale vers le haut ou vers le bas par rapport à la hauteur tonale d’origine. Selon la position des moitiés supérieure et inférieure du curseur par rapport à la position centrale, la durée nécessaire pour le glissement vers le haut ou vers le bas jusqu’à la hauteur tonale d’origine de la note peut être définie de façon indépendante pour les vélocités modérées et les vélocités élevées. 284 Chapitre 12 EXS24 mkII Utilisation des paramètres EXS24 mkII Filter Ces paramètres permettent de contrôler la section de filtrage de l’EXS24 mkII. Vous pouvez configurer le type de filtre, la résonance du filtre, la fréquence de coupure, le disque et la quantité de suivi de tonalité. Pour obtenir des détailssur l’enveloppe de filtre, consultez Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). • Bouton FilterOn/Off : active ou désactive la totalité de la section de filtrage et l’enveloppe de filtre. En désactivant la section de filtrage, il est plusfacile d’entendre les ajustements apportés aux autres paramètres sonores. En effet, les filtres affectent énormément le son généré. La désactivation du filtre permet d’économiser lesressources de traitement. Si le bouton est vert et étiqueté Activé, le filtre est activé. S’il est gris et étiqueté Désactivé, le filtre est désactivé. • Boutons Filter Mode/Slope : apparaissant comme HP, LP et BP au bas de la rubrique, ces boutons déterminent le type et la courbe du filtre. Consultez Sélection du mode Filter de l’EXS24 mkII (HP, LP, BP). • Potentiomètre Cutoff : définit la fréquence de coupure du filtre. La valeur Cutoff sert également de point de départ pour toute modulation faisant intervenir le filtre. Consultez Utilisation des paramètres EXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII. • Potentiomètre Resonance : amplifie ou réduit la zone de fréquence autour de la fréquence de coupure. Pour des valeurs de résonance très élevées, un phénomène d’auto-oscillation apparaît et le filtre se met à produire un signal sinusoïdal tout seul. Consultez Utilisation des paramètres EXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII. • Potentiomètre Drive : sature l’entrée du filtre. Si vous tournez le potentiomètre Drive vers le haut, vous obtenez un signal plus saturé et plus dense, faisant apparaître des harmoniques supplémentaires. Consultez Saturation du filtre de l’EXS24 mkII. Chapitre 12 EXS24 mkII 285 • Potentiomètre Key : définit l’évolution de la modulation de fréquence de coupure du filtre en fonction du numéro de note. Lorsque le potentiomètre Key est tourné complètement versla gauche, la fréquence de coupure n’est pas modifiée par le numéro de note : elle reste identique quelle que soit la note jouée. Lorsque le potentiomètre Key est tourné complètement vers la droite, la fréquence de coupure suit le numéro de note dans un rapport 1 : 1, c’est-à-dire que si vous jouez une octave plus haut, la fréquence de coupure se voit elle aussi décalée d’une octave. Ce paramètre est particulièrement utile pour éviter de filtrer de façon excessive les notes aiguës. • Bouton Fat (Fatness) : active ou désactive la fonction Gras. La fonction Gras préserve la réponse en fréquence dans les graves de l’instrument de l’échantillonneur chargé, même lors de l’utilisation de réglages de résonance élevés. Remarque : le paramètre de grass’applique uniquement dansle cas de filtres passe-bas. Il ne fonctionne pas lorsque les filtres de type passe-haut ou passe-bas sont actifs. Sélection du mode Filter de l’EXS24 mkII (HP, LP, BP) Le filtre de l’EXS24 mkII peut fonctionner dans plusieurs modes, ce qui permet de filtrer (atténuer) ou d’accentuer des plages de fréquences spécifiques. Sélectionnez l’un des boutons suivants au bas de la section de filtrage pour choisir un mode de filtre : • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupure. La pente du filtre passe-haut est fixée à 12 dB/octave en mode HP. • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupure. Cliquez sur l’un des quatre boutons situés sous l’étiquette LP pour activer le filtre passe-bas, puis choisissez la pente du filtre : 24 dB (4 pôles), 18 dB (3 pôles), 12 dB (2 pôles) et 6 dB (1 pôle). Le réglage 24 dB peut être utilisé pour des effets drastiques, tels qu’une suppression de la quasi-totalité des notes. Le réglage 6 dB est utile pour la création d’un son légèrement plus chaud, dénué de tout effet drastique de filtrage, par exemple pour lisser des échantillons au son « trop brillant ». • BP (passe-bande): la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. Utilisation des paramètresEXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII Vous trouverez dans la rubrique suivante une description de l’impact des paramètres Cutoff et Resonance du filtre. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez la rubrique Filtres dans le chapitre Notions élémentaires sur les synthétiseurs. 286 Chapitre 12 EXS24 mkII Impact de la fréquence de coupure sur le signal Le paramètre Cutoff Frequency (Cut) permet d’agir sur la brillance du signal. • Dans un filtre passe-bas, plus la fréquence de coupure définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupure détermine le point où lesfréquences inférieures sont supprimées, avec uniquement des fréquences supérieures autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupure détermine la fréquence centre du filtre passe-bande ou de refus de bande. Impact de la résonance sur le signal Le paramètre de résonance (Res) accentue ou supprime les portions du signalsupérieures ou inférieures à la fréquence de coupure définie. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupure. • Dans les filtres passe-bande, la résonance accentue ou supprime les portions du signal ou bande de fréquence qui entourent la fréquence définie, avec le paramètre Cutoff Frequency. La résonance peut également être utilisée pour définir la largeur de la bande de fréquence. Voilà de quelle manière elle est utilisée dans l’EXS24 mkII. Contrôle simultané des paramètres Cutoff et Resonance La modification simultanée des valeurs des paramètres de fréquence de coupure et de résonance est cruciale pour la création de sons de synthétiseurs expressifs. Pour contrôler deux paramètres de filtre en même temps µ Faites glisser le symbole de chaîne situé entre les potentiomètres Frequency de coupure et Resonance pour contrôler les deux paramètres simultanément : les mouvements verticaux modifient les valeurs de fréquence de coupure et les mouvements horizontaux affectent les valeurs de résonance. Saturation du filtre de l’EXS24 mkII Le filtre est équipé d’un module Overdrive. L’intensité de la distorsion est définie par le paramètre Drive. Chapitre 12 EXS24 mkII 287 Le paramètre Drive affecte chaque voix séparément. Lorsque chaque voix subit sa propre saturation, comme si les guitaristesjouaient avec six pédales de distorsion, une par corde, vous pouvez jouer des harmonies extrêmement complexessur toute l’étendue du clavier. Le son obtenu reste propre et n’est pas perturbé par ces phénomènes d’intermodulation indésirables. En outre, les différentsréglages du paramètre Drive confèrent au son un caractère distinct. Le comportement des filtres analogiques en cas de saturation est spécifique à la personnalité sonore du synthétiseur. Chaque modèle de synthétiseur est unique dans ce domaine. L’EXS24 mkII est extrêmementsouple à ce niveau et autorise les couleurstonales qui s’étendent de la distorsion la plus subtile aux distorsions les plus marquées. Paramètres EXS24 mkII Output Les paramètres de sortie définissent le niveau, c’est-à-dire le volume sonore perçu, d’une note jouée. L’évolution du niveau sonore au fil du temps est définie par un générateur d’enveloppe. ENV2 est « câblé en dur » au niveau de l’amplificateur dynamique de l’EXS24 mkII. Il est utilisé en permanence pour contrôler le niveau sonore de chaque note. Pour obtenir une description de tous les paramètres d’enveloppe, consultez Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). • Curseur Level via Vel : détermine de quelle manière la vélocité affecte le volume sonore. La section supérieure du curseur détermine le volume lorsque le clavier est frappé à la vélocité maximale et la section inférieure détermine le volume lorsque le clavier est frappé à la vélocité minimale. Faites glisser la souris dansla zone entre les deux segments du curseur pour déplacer les deux simultanément. • Potentiomètre Volume : il correspond au paramètre de volume principal de l’EXS24 mkII. Réglez ce potentiomètre pour trouver l’équilibre entre l’apparition de distorsions et l’obtention de la meilleure résolution (la plus élevée) sur la tranche de console et le curseur Level via Vel. 288 Chapitre 12 EXS24 mkII • Champ Key Scale : module le niveau de l’instrument de l’échantillonneur en fonction du numéro de note, c’est-à-dire en fonction de l’emplacement sur le clavier. Pour des valeurs négatives, le niveau des notes graves augmente. Pour des valeurs positives, c’est le niveau des notes aiguës qui augmente. Cela s’avère utile lors de l’émulation de plusieurs instruments acoustiques, où les notes aiguës sont souvent plus bruyantes que les notes graves. Utilisation de la modulation de l’EXS24 mkII L’EXS24 mkII est doté d’une plage étendue de destinations et de sources de modulation, ce qui en fait un instrument très souple qui peut générer des sons extraordinaires en constante évolution ou qui sont tout simplement expressifs lorsque vous les jouez. Les tables de références couvrant toutesles destinations etsources de modulation se trouvent à la fin de cette rubrique. Paramètres de modulation et de contrôle Routeur de modulation • Routeur de modulation : le routeur de modulation ou plus simplement routeur relie les sources de modulation, telles que l’enveloppe, aux destinations de modulation, telles que le filtre. Le routeur présente dix routages de modulation, organisés en colonnes. Consultez Présentation du routeur de modulation de l’EXS24 mkII. • Paramètres de modulation et de contrôle : ces paramètres incluent les LFO et les enveloppes. Consultez lesrubriques Présentation des LFO de l’EXS24 mkII et Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). Chapitre 12 EXS24 mkII 289 Présentation du routeur de modulation de l’EXS24 mkII Le routeur de modulation traverse le centre de l’interface de l’EXS24 mkII. Si vous ne connaissez pas bien les routages de modulation des synthétiseurs, consultez la rubrique Routage des modulations dans le chapitre Notions élémentaires sur les synthétiseurs. Consultez également la rubrique Exemple de modulation de l’EXS24 mkII. Les sources via s’affichent au milieu de chaque routage de modulation. Les sources de modulation s’affichent en bas de chaque routage de modulation. Le curseur d’intensité de la modulation est divisé en deux lorsqu’une source via est active. Les destinations de modulation s’affichent en haut de chaque routage de modulation. Le curseur d’intensité de la modulation n’est pas divisé en deux lorsqu’aucune source via n’est active. Toute source de modulation peut être associée à n’importe quelle destination de modulation, un peu comme un ancien standard téléphonique ou un tableau de raccordement. Consultez les rubriques Création et contournement des routages de modulation de l’EXS24 mkII, Référence de la source de modulation de l’EXS24 mkII et Référence de la destination de modulation de l’EXS24 mkII. L’intensité de modulation, c’est-à-dire à quel point la destination est influencée par la source, est définie à l’aide du curseur vertical situé à droite du routage de modulation. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Lorsque ce paramètre est actif, vous pouvez spécifier deslimitessupérieures et inférieures pour l’intensité de modulation. Consultez les rubriques Utilisation des sources Via de l’EXS24 mkII pour contrôler l’intensité de modulation et Référence Modulation Via Source de l’EXS24 mkII. Dix routages de modulation de type Source, Via et Destination peuvent avoir lieu simultanément, en plus des routages qui sont « câblés en dur » hors du routeur. Vous pouvez utiliser n’importe lequel des dix routages de modulation. 290 Chapitre 12 EXS24 mkII Vous pouvez même sélectionner la même destination pour plusieurs routages de modulation parallèles. Vous pouvez également utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Création et contournement des routages de modulation de l’EXS24 mkII Les informations suivantes s’appliquent aux dix routages de modulation. Pour créer un routage de modulation de base 1 Ouvrez le menu local Dest pour voir toutes les destinations disponibles, puis choisissez le paramètre que vous souhaitez moduler. Cliquez ici pour choisir une destination de modulation. Cliquez ici pour choisir une source de modulation. 2 Ouvrez le menu local Src pour voir toutes les sources disponibles, puis choisissez le paramètre à utiliser pour moduler la destination. 3 Faites glisser la flèche le long du curseur Intensity situé à droite du routage de modulation pour définir une intensité de modulation fixe. Curseur d’intensité de modulation Pour contourner un routage de modulation µ Cliquez sur le bouton « b/p » situé dans le coin supérieur droit du routage de modulation. Bouton Bypass Chapitre 12 EXS24 mkII 291 Le paramètre de contournement (b/p) permet d’activer ou de désactiver les routages de modulation individuels, sans perdre les réglages. Utilisation des sources Via de l’EXS24 mkII pour contrôler l’intensité de modulation Dans un routage de modulation de base se composant d’une destination et d’une source, vous pouvez définir une intensité de modulation fixe en faisant glisser verticalement la flèche du curseur Intensity situé à droite du routage. La valeur du curseur définit toujours une intensité de modulation constante. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Dès que vous sélectionnez une valeur autre que Off pour « via », le curseur Intensity est divisé en deux sections, chaque section disposant de sa propre flèche. • La section inférieure définit l’intensité de modulation minimale, lorsque le contrôleur via, la roulette de modulation par exemple, est défini sur sa valeur minimale. • La section supérieure définit l’intensité de modulation maximale, lorsque le contrôleur via est défini sur sa valeur maximale. • La zone située entre les deux sections de curseur définit la plage de modulation du contrôleur via. Pour créer un routage de modulation qui inclut une source via 1 Ouvrez le menu local Dest pour voir toutes les destinations disponibles, puis choisissez le paramètre que vous souhaitez moduler. Cliquez ici pour choisir une destination de modulation. Cliquez ici pour choisir une source de modulation. 2 Ouvrez le menu local Src pour voir toutes les sources disponibles, puis choisissez le paramètre à utiliser pour moduler la destination. 3 Ouvrez le menu local via pour voir touteslessources disponibles, puis choisissez la source à utiliser pour le contrôle de l’intensité de modulation. 292 Chapitre 12 EXS24 mkII 4 Faites glisser la flèche supérieure le long du curseur Intensity situé à droite du routage de modulation pour définir l’intensité de modulation maximale. 5 Faites glisser la flèche inférieure le long du curseur Intensity pour définir l’intensité de modulation minimale. Pour déplacer l’intégralité de la plage via µ Faites glisser verticalement la souris dans la zone de plage entre les deux sections du curseur. Les deux flèches se déplacent simultanément. Si cette zone est trop petite pour être déplacée, il vous suffit pour cela de faire glisser une section inutilisée du curseur Intensity. Pour définir l’intensité de modulation sur zéro µ Cliquez sur le petit symbole 0 qui se trouve à mi-hauteur du curseur Intensity. Chapitre 12 EXS24 mkII 293 Pour inverser l’effet de la source de modulation via µ Cliquez sur le bouton inv situé à droite du menu local via. Exemple de modulation de l’EXS24 mkII L’exemple suivant est utile pour les modulations de son de corde, où jouer des notes plus aiguës entraîne une modulation plus rapide. La vitesse LFO 1 est la destination de modulation. La source de modulation ou pression est utilisée pour moduler la vitesse (fréquence) de LFO 1. Vous allez entendre une modulation plus rapide si vous appliquez plus de pression sur le clavier, après la première note jouée. L’intensité de la modulation est contrôlée par la position du clavier, dont la plage est déterminée par le paramètre via. Autrement dit, la note (numéro) que vousjouez contrôle la profondeur de la modulation de vitesse de LFO. 294 Chapitre 12 EXS24 mkII Chemins de modulation de l’EXS24 mkI De nombreux chemins de modulation câblés en dur auparavant accessibles sous forme de curseurssur l’EXS24 d’origine (mkI)sont désormaisintégrés au routeur de modulation. Pour reconstituer la configuration du curseur de modulation de la version mkI, ouvrez le menu local Options dans le coin supérieur droit de l’interface et sélectionnez (« Rappeler les réglages par défaut de l’EXS24 mkI »). Les chemins de modulation de la version mkI sont chargés dans le routeur de modulation comme suit : • Velocity vers Sample Select • LFO 1 vers Pitch via ModWheel (= Ctrl#1) • Velocity vers Sample Start (inv) • LFO 2 vers Filter Cutoff via ModWheel • Velocity vers Filter Cutoff • Envelope 1 vers Filter Cutoff via Velocity • LFO 2 vers Pan via ModWheel Vous êtes, bien sûr, libre de modifier les réglages de ces chemins de modulation, ce qui vous permet d’utiliser des sources de modulation qui n’étaient pas disponibles dans l’EXS24 mkI, par exemple (consultez la fin de cette rubrique pour voir lestables de toutes les sources et destinations). Remarque : pour des raisons d’ordre technique, les réglages du routeur de modulation ne peuvent pas s’appliquer à l’EXS24 mkI. Présentation des LFO de l’EXS24 mkII L’EXS24 mkII intègre trois LFO (oscillateurs basse fréquence) qui peuventservir de sources de modulation. Ils sont tous disponibles comme sources ou destinations dans le routeur. Si vous ne connaissez pas bien les synthétiseurs et les concepts de LFO, consultez Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons. Le LFO 1 est polyphonique, ce qui signifie que si vous l’utilisez pour la modulation de plusieurs voix, celles-ci ne sont pas verrouillées en phase. En outre, LFO 1 est synchronisé sur les notes: chaque fois que vousjouez une note, la modulation LFO1 de la voix associée repart de zéro. Pour mieux comprendre la caractéristique non verrouillée en phase, imaginez un scénario dans lequel un accord est joué sur le clavier. Si LFO 1 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. Chapitre 12 EXS24 mkII 295 La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. Le LFO 1 permet d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. Le LFO 2 est monophonique, ce qui signifie que la modulation est identique pour toutes les voix. Pour mieux comprendre ceci, imaginez un scénario dans lequel un accord est joué sur le clavier. Si vous utilisez LFO 2 pour moduler la hauteur tonale, par exemple, la hauteur tonale de toutes les voix dans l’accord joué augmente et diminue de manière synchronisée. Le LFO 3 est également monophonique. Il utilise toujours une forme d’onde triangulaire. Les trois LFO peuvent osciller librement ou être synchronisés pour héberger le tempo de l’application, dans des valeurs comprises entre 32 mesures et un triolet d’octuple croche (1/128). • Potentiomètre LFO1 EG : contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO (consultez Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1). • Potentiomètre LFO 1 Rate : détermine la fréquence ou vitesse de la modulation LFO 1. La valeur est indiquée en Hertz (Hz) ou en valeurs de note, sous le curseur. • Boutons LFO Wave 1 et 2 : ils vous permettent de choisir la forme d’onde souhaitée pour LFO 1 et LFO 2. Pour plus de détails sur leur utilisation, consultez Utilisation des formes d’onde du LFO de l’EXS24 mkII. • Potentiomètre FLFO2 Rate : ce paramètre définit la fréquence ou vitesse de la modulation LFO 2. Consultez Réglage de la fréquence de LFO de l’EXS24 mkII. • Potentiomètre LFO3 Rate : ce paramètre définit la fréquence ou vitesse de la modulation LFO 3. Consultez Réglage de la fréquence de LFO de l’EXS24 mkII. 296 Chapitre 12 EXS24 mkII Utilisation des formes d’onde du LFO de l’EXS24 mkII Les boutons Wave vous permettent de choisir différentes formes d’onde pour LFO 1 et LFO 2. Le tableau ci-dessous définit de quelle manière cesformes d’onde peuvent affecter vos sons. Astuce : essayez différentes formes d’onde lorsqu’un routage de modulation de hauteur tonale est activé. Waveform Commentaires Onde triangulaire Convient bien aux effets de vibrato Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées de la hauteur tonale avec une onde en dents de scie négative (inversée) génèrent des sons de type bulle. Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance des filtres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. En dents de scie Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire saillante évolue entre une valeur positive et zéro. Les ondes inférieures basculent entre une valeur positive et une valeur négative définies sur la même valeur supérieures/inférieures à zéro. Vous pouvez essayer un effet intéressant en modulant la destination de la hauteur tonale avec une intensité de modulation appropriée qui conduit à un intervalle d’un cinquième. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Les deux derniers réglages de forme d’onde des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde supérieure s’échelonne entre des valeurs aléatoires (passages rapides d’une valeur à une autre). Avec la dernière, en revanche, l’onde aléatoire est lissée ; lestransitions entre les différentes valeurssont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. Les valeurs de ces échantillons sont ensuite conservées jusqu’au prélèvement du prochain échantillon.Astuce : une modulation aléatoire de la hauteur tonale conduit à un effet communément appelé générateur de motif de hauteur tonale aléatoire ou sample & hold. Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1 LFO 1 présente un générateur d’enveloppe simple utilisé pour contrôler le temps nécessaire pour le fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique : aucun fondu entrant ou sortant ne se produit. Chapitre 12 EXS24 mkII 297 Pour définir la transition de la modulation LFO 1 µ Sélectionnez une valeur positive de potentiomètre LFO 1 EG pour un fondu entrant de la modulation. Plus la valeur est élevée, plus le temps de retard est long. µ Sélectionnez une valeur négative EG LFO 1 pour réaliser un fondu sortant de la modulation. Plus la valeur est faible, plus le fondu sortant est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Placez le potentiomètre LFO 1 EG à une position vers la droite (Delay) et modulez la destination de hauteur tonale avec la source LFO 1 dans le routeur. 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO 1 d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO 1. Astuce : les modulations rapides et chaotiques des fréquences (destination : Pitch) par la source LFO 1, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage de la fréquence de LFO de l’EXS24 mkII Le LFO 2 convient particulièrement pour la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le LFO 3 est pratiquement identique, mais utilise une forme d’onde en triangle fixe, ce qui le rend plus adapté pour l’ajout d’un vibrato à un son ou pour l’utilisation comme une source de modulation pour les autres LFO. Le paramètre Rate des trois LFO permet à chaque LFO de s’exécuter librement (dans la section droite de la plage du potentiomètre Rate ) ou d’être synchronisé avec le tempo du projet (dans la section gauche de la plage du potentiomètre Frequency). La fréquence est indiquée en Hertz ou en valeurs rythmiques, ces dernières lorsque la synchronisation du tempo du projet est active. La plage rythmique va de la quadruple croche (1/64) à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2) L’EXS24 mkII présente deux générateurs d’enveloppe par voix. Ils sont abrégés sous la forme ENV 1 et ENV 2 dans l’interface et le routeur. Pour plus de détails sur les racines de l’expression générateur d’enveloppe et ses fonctions de base, consultez Enveloppes de la section Amplifier. 298 Chapitre 12 EXS24 mkII Les paramètres d’ENV 1 et d’ENV 2 sont identiques. • ENV 1 contrôle le filtre dans la durée. • ENV 2 définit l’évolution du niveau de chaque note jouée. Toutefois, les deux enveloppessont également disponibles pour une utilisation simultanée comme sources dans le routeur. Les paramètres temporels de l’enveloppe (Attack, Decay et Release) sont également disponibles comme destinations de modulation dans le routeur. Paramètres de l’enveloppe 1 Paramètres de l’enveloppe 2 • Curseur A(ttack) : définit le temps nécessaire pour que le niveau d’une note s’élève d’une amplitude de zéro à l’amplitude définie. Les curseurs de temps d’attaque des deux enveloppes sont divisés en deux moitiés. • La section inférieure définit le temps d’attaque, lorsque la force du jeu est élevée, à vélocité maximale. La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, faites glisser une section inutilisée du curseur. • Curseur D(ecay) : détermine le temps nécessaire pour que le niveau d’une note tenue retombe au niveau de tenue avant la fin de la phase d’attaque. • Si le paramètre de niveau Sustain est défini sur sa valeur maximale, le paramètre Decay n’a aucun effet. • En revanche, lorsqu’une valeur minimale est affectée, le paramètre Decay définit la durée du fondu sortant de la note. • Curseur S(ustain) : contrôle le niveau de tenue. • Curseur R(elease) : définit le temps requis pour que le niveau (tenue) retombe à zéro, une fois la note relâchée. Chapitre 12 EXS24 mkII 299 • Curseurs de courbe temporelle : ils s’appliquent aux deux enveloppes. Le curseur de gauche, appelé durée via note, peut être utilisé pour échelonner (allonger ou raccourcir) lesintervalles de temps d’enveloppe. Notez que la position C3 (Do3) est le point central. • La durée des intervalles temporels pour les zones affectées aux touches au-dessus de C3 (Do3) peut être réduite à l’aide du curseur de gauche. Tous les intervalles des zones affectées aux touches sous C3 peuvent être allongés. • Le curseur de courbe (Attack) détermine la forme de la courbe d’attaque de l’enveloppe. Référence de la destination de modulation de l’EXS24 mkII Les destinations suivantes sont disponibles pour la modulation en temps réel. Destination Commentaires Module l’échantillon (zone) qui est joué. Par défaut, la destination Sample Select est contrôlée par la vélocité, par l’intermédiaire du routage de modulation par défaut Vélocité vers Sample Select. C’est donc la valeur de vélocité de la note reçue qui détermine la zone écoutée parmi les zones superposées (dans différentes plages de vélocité) lorsque vous jouez plus doucement ou plus fort sur le clavier. La vélocité n’est toutefois pas le seul moyen de déterminer l’échantillon joué. Vous pouvez affecter la source de la roulette de modulation à la destination Sample Select ou utiliser à la fois la vélocité et la roulette de modulation. Le choix d’un contrôleur continu, tel que la roulette de modulation, vous permet de franchir les couches de vélocité pendant la lecture. Dans ce cas, utilisez les paramètres de fondu enchaîné (Fondu ench.) pour créer destransitions douces entre chaque point de séparation de la vélocité. Lorsque vous utilisez plusieurs sources de modulation, n’oubliez pas que toutes les couches de vélocité risquent de fonctionner simultanément, utilisant autant de voix qu’il y a de zones superposées. L’utilisation du processeur augmentera en conséquence. Sample Select Module le début de l’échantillon. Vous pouvez déclencher une boucle de batterie, à mi-chemin, par exemple. Sample Start Module la durée de l’effet Glide (portamento). Si vous modulez l’effet Glide, en utilisant Vélocité comme source, la vitesse de frappe détermine la durée nécessaire pour que les notesjouées atteignent leur hauteur cible. Glide Time 300 Chapitre 12 EXS24 mkII Destination Commentaires Module la fréquence (hauteur) de l’instrument de l’échantillonneur chargé. Si vous sélectionnez un LFO comme source avec cette destination, des effets de sirène ou de vibrato sont créés. Sélectionnez un des générateurs d’enveloppe avec une attaque nulle, une chute courte, un paramètre Sustain sur zéro et un temps de libération court comme source pour lessons de tom et de grosse caisse. De légères modulations d’enveloppe peuvent modifier la valeur de désaccord dansle temps, ce qui peut être particulièrement utile pour les sons de cuivres. Pitch Drive du filtre Module le paramètre Drive du filtre. Module le paramètre Cutoff Frequency. Consultez Utilisation des paramètres EXS24 mkII Filter. Fréquence de coupure du filtre Résonance du filtre Module le paramètre Resonance du filtre. Volume Contrôle le niveau de sortie principal de l’EXS24 mkII. Module la position panoramique du son dans le spectre stéréo. Si vous modulez la balance avec un LFO, vous obtenez un trémolo stéréo (panning automatique). En mode Unison, les différentes voix utilisées sont réparties sur toute la largeur du spectre stéréo. Vous pouvez néanmoins encore moduler le paramètre Pan : les différents positionnements sont alors modifiés en parallèle. Pan Ajoute/soustrait la quantité spécifiée à destination/en provenance du paramètre Volume. Relative Volume Contrôle le paramètre GE LFO 1 (consultez Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1). LFO 1 Dcy./Dly (LFO 1 Decay/Delay) Module la fréquence (taux) du LFO 1. Vous pouvez automatiquement accélérer/ralentir la fréquence du LFO 1 en modulant la destination Vitesse du LFO 1 avec l’un des générateurs d’enveloppe (ENV) ou avec le LFO 2 ou LFO 3. Vitesse LFO 1 Vitesse LFO 2 Comme ci-dessus, pour LFO 2 Vitesse LFO 3 Comme ci-dessus, pour LFO 3 Attaque Env 1 Module la durée d’attaque de l’enveloppe du filtre. Chute Env 1 Module le temps de chute de l’enveloppe du filtre. Relâchement Env 1 Module le temps de relâchement de l’enveloppe du filtre. Module la position du curseur de durée via note. Consultez la description des curseurs de courbe temporelle dans Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). Time Attaque Env 2 (amp.) Module la durée d’attaque du second générateur d’enveloppe. Module le temps de chute du second générateur d’enveloppe. Si vous avez sélectionné Chute Env 2 comme destination et Vélocité comme source, la durée du temps de chute dépend de la force avec laquelle vous avez appuyé sur cette touche. Si vous sélectionnez Key(board) comme source, les notes aiguës ont une chute plus rapide (ou plus lente). Chute Env 2 (amp.) Chapitre 12 EXS24 mkII 301 Destination Commentaires Module le temps de relâchement du second générateur d’enveloppe. Relâchement Env 2 (amp.) Module le contrôleur (alternatif) assigné à la fonction de la pédale sustain. Consultez les informations sur le paramètre Hold dans la rubrique Ajustement des paramètres globaux de l’EXS24 mkII. Hold Référence de la source de modulation de l’EXS24 mkII Les sources de modulation suivantes sont disponibles : Source Commentaires La modulation Side Chain utilise un signal de side chain comme signal de modulation. Vous pouvez sélectionner la source Side Chain dans le menu Side Chain situé dans l’en-tête de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. side chain Max définit la valeur de cette source sur +1 (une valeur interne qui indique la quantité maximale possible pour cette source). Cela offre des optionsintéressantes pour contrôler l’intensité de la modulation avec toutes les valeurs via possibles. Maximum Env 1 Le générateur d’enveloppe 1 est utilisé comme source. Le générateur d’enveloppe 2 est utilisé comme source. Env 2 contrôle toujours le niveau sonore global. Env 2 (Amp) LFO 1 LFO 1 est utilisé comme source. LFO 2 Comme ci-dessus, mais pour LFO 2 LFO 3 Comme ci-dessus, mais pour LFO 3 La modulation se produit lorsque vous relâchez une touche (cela nécessite un clavier qui envoie des informations sur la vélocité de relâchement). Release Velocity La pression (également appelée Aftertouch) sert de source de modulation. L’EXS24 mkII réagit à la pression polyphonique (Aftertouch polyphonique).Remarque :si vous définissez la destination sur Fréquence de coupure, les fréquences de coupure augmentent et diminuent, selon la force du jeu après la première note jouée sur le clavier MIDI sensible au toucher. Pressure Pitch Bend La roulette de pitch bend est utilisée comme source de modulation. 302 Chapitre 12 EXS24 mkII Source Commentaires Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). Le point central est C3 (Do3) (valeur de sortie de 0, utilisée en interne par l’EXS24 mkII). Une valeur de sortie de -1 indique cinq octaves en dessous (point central). Une valeur de sortie de +1 indique cinq octaves au-dessus. Modulez la destination Fréquence de coupure avec la source Touche pour contrôler les fréquences de coupure du filtre selon la position du clavier : lorsque vous montez ou descendez la gamme sur le clavier, les fréquences de coupure changent. Avec une intensité de modulation de 0,5, les fréquences de coupure augmentent proportionnellement aux hauteurs tonales des notes du clavier. Key Velocity Le paramètre Velocity sert de source de modulation. --- Désactive la source. Le contrôleur MIDI choisi sert de source de modulation. Les contrôleurs n° 7 et 10 sont repérés comme (non disponibles). Les applications hôtes utilisent ces contrôleurs pour l’automation du volume et de la balance des bandes de canaux. Le contrôleur n° 11 est repéré comme (Expression). Il dispose d’une connexion fixe à cette fonctionnalité mais peut également être utilisé pour contrôler d’autres sources de modulation. Contrôleurs MIDI n° 1 à 120 Référence Modulation Via Source de l’EXS24 mkII Les sources suivantes peuvent être utilisées pour contrôler l’intensité de la modulation. via Source Commentaires La modulation Side Chain utilise un signal de side chain comme signal (déclencheur) d’intensité de modulation. Vous pouvez sélectionner la source Side Chain dans le menu Side Chain situé dans l’en-tête de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. side chain Maximum Définit la valeur de cette source sur +1. Env 1 Le générateur d’enveloppe 1 contrôle l’intensité de la modulation. Env 2 (Amp) Le générateur d’enveloppe 2 contrôle l’intensité de la modulation. Le LFO 1 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO 1 LFO 2 Comme ci-dessus, mais pour LFO 2 LFO 3 Comme ci-dessus, mais pour LFO 3 La modulation sera plus ou moins intense en fonction de la vitesse à laquelle vous relâchez la touche (cela nécessite un clavier qui envoie des informations sur la vélocité de relâchement). Release Velocity Chapitre 12 EXS24 mkII 303 via Source Commentaires Si vous sélectionnez le paramètre Pressure (également appelé Aftertouch) comme valeur via, l’intensité de la modulation sera sensible au toucher ; la modulation sera plus ou moins intense en fonction de la force utilisée pour appuyer sur la touche de votre clavier MIDI sensible au toucher, une fois la première note jouée. Pressure Pitch Bend La roulette de pitch bend contrôle l’intensité de la modulation. Le paramètre Key(board) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à Do3 (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantes sont -1 et +1, respectivement. Si voussélectionnez Pitch comme destination, que vous la modulez avec la source LFO 1 et que vous sélectionnez Key comme valeur via, la profondeur du vibrato varie selon la note jouée. Autrement dit, la profondeur du vibrato est différente lorsque des notes plus aiguës ou plus graves que le positionnement du clavier défini sont jouées. Key L’intensité de la modulation estsensible à la vélocité ; la modulation est plus ou moinsintense selon la rapidité (force) avec laquelle vous appuyez sur la touche. Velocity --- Désactive la source via. L’intensité de la modulation est déterminée par la valeur du contrôleur MIDI sélectionné. Les contrôleurs n° 7 et 10 sont repérés comme (non disponibles). Les applications hôtes utilisent ces contrôleurs pour l’automation du volume et de la balance des bandes de canaux. Le contrôleur n° 11 est repéré comme (Expression). Il dispose d’une connexion fixe à cette fonctionnalité mais peut également être utilisé pour contrôler d’autres sources de modulation. Contrôleurs MIDI n° 1 à 120 Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII L’Éditeur d’instruments est utilisé pour créer et modifier des instruments de l’échantillonneur. Consultez lesrubriques Créations d’instruments, de zones et de groupes de l’EXS24 mkII et Modification de zones et de groupes de l’EXS24 mkII. Un instrument échantillonné est constitué de zones et de groupes : • Une zone est un emplacement dans lequel un échantillon unique ou fichier audio est chargé à partir d’un disque dur. Vous pouvez modifier les paramètres de zone en mode d’affichage Zone. Consultez Présentation du mode d’affichage Zones de l’EXS24 mkII. • Les zones peuvent être attribuées à des groupes, qui offrent des paramètres vous permettant de modifiersimultanément toutesles zones du groupe. Vous pouvez définir autant de groupes que vous le souhaitez. Vous pouvez modifier les paramètres de groupe en mode d’affichage Group. Consultez Présentation du mode d’affichage Groups de l’EXS24 mkII. 304 Chapitre 12 EXS24 mkII Pour ouvrir l’Éditeur d’instruments de l’EXS24 mkII µ Cliquez sur le bouton Edit dansle coin supérieur droit de la fenêtre EXS24 mkII Parameter. Remarque : si aucun instrument de l’échantillonneur n’est chargé lorsque vous cliquez sur le bouton Edit, un nouvel instrument est automatiquement créé. L’éditeur d’instruments comporte deux modes d’affichage : Zones et Groups. L’affichage Zones présente les zones et les paramètres associés, dans la zone des paramètres. L’affichage Groups présente les groupes et les paramètres associés. Pour permuter entre les modes d’affichage de l’Éditeur d’instruments de l’EXS24 mkII µ Cliquez sur le bouton Groups dans le coin supérieur gauche pour passer à l’affichage Groups ou cliquez sur le bouton Zones dans le coin supérieur gauche pour passer à l’affichage Zones. Vous pouvez également utiliser le raccourci clavier Toggle Zones/Groups View pour passer d’un mode d’affichage à l’autre. Chapitre 12 EXS24 mkII 305 Présentation du mode d’affichage Zones de l’EXS24 mkII Dans l’affichage Zones, la zone au-dessus du clavier affiche la zone Zones. Les boutons, les menus généraux, etc. sont affichés dans les affichages Zones et Groups. Colonne Zones Section de la vélocité Section des zones/groupes Clavier Cliquez pour basculer entre les vues Zones et Groups. Section Parameters • Colonne Zones: affiche toutes les zones de l’instrument. Par défaut, chaque instrument contient les icônes Toutes les zones (dont les zones « groupées ») et Zones dissociées. Cliquez sur l’icône souhaitée pour afficher les zones associées dans la zone des paramètres. • Section Parameters : : affiche les paramètres de la zone (individuels, tous ou dissociés) sélectionnés dans la colonne Zones. • Section Velocity : affiche la plage de vélocité de la zone sélectionnée. Remarque : par défaut, la zone Vélocité est désactivée. • Section Zones/Groups : indique graphiquement les zones ou les groupes au-dessus du clavier. • Clavier: : cliquez sur les notes pour déclencher la zone associée. Le claviersert également de référence visuelle pour le placement des zones ou des groupes (dans la zone Zones/Groupes). 306 Chapitre 12 EXS24 mkII Présentation du mode d’affichage Groups de l’EXS24 mkII Dans l’affichage Groups, la zone au-dessus du clavier affiche Groups. Les boutons, les menus généraux, etc. sont affichés dans les affichages Zones et Groups. Éditeur d'instruments dans la vue Groups Cliquez ici pour rouvrir une fenêtre EXS24 mkII Parameter fermée. Remarque : cliquersur le bouton EXS24 n’affiche pasla fenêtre des paramètres au premier plan si elle est masquée par d’autres fenêtres flottantes. Créations d’instruments, de zones et de groupes de l’EXS24 mkII Vous pouvez soit ajouter des zones et des groupes à des instruments chargés, soit créer un instrument vide et y intégrer des zones et des groupes. Important: eXS24 mkII ne permet pas d’enregistrer directement des échantillons, comme le permet un échantillonneur matériel. Vous devez enregistrer les échantillons dans une application appropriée, telle que Logic Pro. Pour créer un instrument, procédez comme suit µ Dansla fenêtre des paramètres(uniquement lorsqu’aucun instrument de l’échantillonneur n’est chargé), cliquez sur le bouton Edit. µ Dans la fenêtre Instrument Editor, sélectionnez Instrument > New. Chapitre 12 EXS24 mkII 307 Pour en savoir plus sur le chargement d’instruments de l’échantillonneur, consultez Utilisation du menu local EXS24 mkII Sampler Instruments. Pour en savoir plus sur l’enregistrement, le renommage l’export d’instruments de l’échantillonneur, consultez Enregistrer, renommer et exporter des instruments de l’EXS24 mkII. Pour en savoir plus sur la création de zones et de groupes, consultez les rubriques suivantes : Création de zones de l’EXS24 mkII Création rapide de plusieurs zones dans l’EXS24 mkII Création de groupes de l’EXS24 mkII Création de zones de l’EXS24 mkII Une zone est un emplacement dans lequel un échantillon unique ou fichier audio, si vous préférez ce terme, peut être chargé. L’échantillon chargé dansla zone réside en mémoire, c’est-à-dire qu’il utilise la mémoire RAM de votre ordinateur. Une zone offre des paramètres qui contrôlent la lecture des échantillons. Chaque zone vous permet de déterminer la plage de notes sur laquelle porte l’échantillon et la note d’origine, note à laquelle l’échantillon est à sa hauteur tonale d’origine. En outre, plusieurs autres paramètres, tels que le début, la fin de l’échantillon, les points de boucle et le volume (entre autres) peuvent être ajustés pour la zone. Vous pouvez définir autant de zones que vous le souhaitez. Pour créer une zone et lui assigner un échantillon 1 Sélectionnez Zone > New Zone (ou utilisez le raccourci clavier correspondant). Une nouvelle entrée de zone apparaît dans l’editeur d’instruments. 2 Effectuez l’une des opérations suivantes : • Cliquez sur la flèche dans la colonne Audio File, puis choisissez Load Audio Sample dans le menu local. • Double-cliquez sur la zone vide dans la colonne des fichiers audio. 308 Chapitre 12 EXS24 mkII 3 Sélectionnez le fichier audio désiré dans le sélecteur de fichiers. • Si vous cochez la case « Masquer les fichiers audio en cours d’utilisation », les fichiers utilisés par l’instrument EXS chargé apparaissent en grisé. • L’option Preview audio file in EXS instrument replace temporairement les fichiers d’échantillons dans la zone sélectionnée. La zone n’est pas directement déclenchée par l’activation de cette option, mais peut l’être par des notes MIDI jouées lorsque vous sélectionnez différents fichiers dans le sélecteur de fichiers. L’échantillon sélectionné peut être écouté en tant que partie intégrante de la zone avec le traitement du synthétiseur appliqué dans son intégralité (c’est-à-dire incluant l’application de filtres, d’effets de modulation, etc.). 4 Cliquez sur le bouton Play pour lire en boucle le fichier d’échantillon sélectionné. • Cliquez une deuxième fois sur ce bouton pour arrêter la lecture. • Vous pouvez auditionner chaque fichier, un par un, en appuyant sur le bouton de lecture, puis en passant de fichier en fichier à l’aide de la touche « Flèche vers le bas » ou en cliquant dessus. 5 Une fois que vous avez choisi l’échantillon à utiliser, cliquez sur le bouton Open pour l’ajouter à la zone. Une fois l’échantillon chargé, son nom s’affiche dans le champ Audio File Name. Pour créer une zone en faisant glisser un fichier audio vers une note µ Faites glisser un fichier audio sur l’une des notes du clavier à l’écran. La note de début, la note de fin et la note fondamentale sont toutes les trois accordées sur la note sur laquelle le fichier est déposé. Vous pouvez faire glisser des fichiers audio provenant des sources suivantes : Navigateur, Chutier audio et le Finder. Pour créer une zone en faisant glisser un fichier audio vers une plage de notes µ Faites glisser un fichier audio directement dans la zone pour en créer une nouvelle. La note fondamentale de la zone correspond à la note à laquelle l’échantillon est joué à sa hauteur tonale enregistrée. Cette information est inscrite dansl’en-tête de l’échantillon. Si aucune note d’origine n’est définie dans l’en-tête de l’échantillon, la note C3 (Do3) est utilisée par défaut. Chapitre 12 EXS24 mkII 309 Remarque : si vous faites glisser un fichier audio dans une zone existante, le fichier référencé par cette zone est remplacé par le nouveau fichier déposé. Le curseur se transforme pour refléter le mode de remplacement. Si vous faites glisser un échantillon unique dans la partie vide en dessous de la section Zones dissociées, une zone et un groupe par défaut sont créés, la nouvelle zone par défaut étant placée dans le groupe par défaut. Création rapide de plusieurs zones dans l’EXS24 mkII Vous pouvez charger plusieurs échantillons en une seule opération. L’Éditeur d’instruments crée automatiquement de nouvelles zones, danslesquellesil place les échantillons chargés. Pour créer plusieurs zones en une seule opération 1 Dans l’Éditeur d’instruments, sélectionnez Zone > Load Multiple Samples (ou utilisez le raccourci clavier correspondant). 2 Accédez à l’emplacement souhaité, puis utilisez les boutons Add ou Add All pour sélectionner les échantillons que vous souhaitez utiliser. 3 Lorsque vous avez fini, cliquez sur le bouton Done. 310 Chapitre 12 EXS24 mkII 4 Choisissez l’un des trois modes de mappage automatique dans la zone de dialogue Load Multiple Samples : • « Map auto » en lisant la note d’origine du fichier audio : utilise les notes d’origine stockées dans l’en-tête des fichiers audio et place les échantillons, sous la forme de zones, sur la plage correspondante du clavier. Le nombre de notes constituant une zone est déterminé de façon « intelligente » en fonction du placement des zones avoisinantes. • « Batterie » zone sans limite, note d’origine du fichier audio : utilise les notes d’origine stockées dans l’en-tête des fichiers audio. Chaque zone est transposée sur une note unique sur le clavier, telle que déterminée par les informations sur la note d’origine. • Zones contiguës : ignore toutes les informations sur la note d’origine et transpose les échantillons sur le clavier par ordre chromatique. Le champ Largeur de zone vous permet de spécifier la largeur ou plage de notes des nouvelles zones générées. Le champ Start Note définit la note de début des nouvelles zones générées. Vous pouvez également charger plusieurs échantillons en lesfaisant glisser dansl’Éditeur d’instruments. Lorsque vousfaites glisser plusieurs échantillons dans un dossier de groupes, chacun d’entre eux est assigné à son groupe respectif. Lorsque vousfaites glisser plusieurs échantillons en dessous de la section Zones dissociées, les fichiers audio sont assignés à un nouveau groupe par défaut. Remarque : si vous faites glisser plusieurs fichiers sur l’une des touches du clavier, la zone de dialogue Load Multiple Samples n’inclut pas le champ Start Note, puisque la note de début, la note de fin et la note fondamentale sont toutes les trois accordées sur la note sur laquelle le fichier est déposé. Chapitre 12 EXS24 mkII 311 Création de groupes de l’EXS24 mkII Imaginons par exemple qu’une batterie vient d’être créée, à l’aide d’un certain nombre d’échantillons utilisés dans plusieurs zones, répartis sur l’ensemble du clavier. Dans de nombreuses situations musicales, il serait appréciable de pouvoir ajuster les paramètres de chaque échantillon indépendamment, pour modifier la chute de la caisse claire, ou pour utiliser un réglage de fréquence de coupure différent pour les échantillons de charleston, par exemple. C’est dans ce cas de figure qu’intervient la fonctionnalité groupes de l’EXS24 mkII. Les groupes permettent une grande souplesse d’organisation des échantillons. Vous pouvez définir autant de groupes que nécessaire et assigner chaque zone à l’un de ces groupes. Dans le cas d’une batterie, par exemple, vous pouvez assigner toutes les grosses caisses au groupe 1, toutes les caisses claires au groupe 2, toutes les charlestons au groupe 3, et ainsi de suite. À quoi cela sert-il ? Un groupe permet, par exemple, de définir une plage de vélocité pour toutes les zones assignées. Vous pouvez ainsi spécifier une fenêtre de vélocité dans laquelle les zones groupéessont déclenchées. Chaque groupe offre également des paramètres de décalage desréglages de l’enveloppe d’amplitude et du filtre entrés dansla fenêtre des paramètres. Il est également possible de lire toutes les zones sans définir ni assigner aucun groupe. Dans ce cas, les réglages des paramètres s’appliquent de manière identique à tous les échantillons de toutes les zones. Pour créer un groupe, procédez comme suit µ Sélectionnez Group > New Group dans l’Éditeur d’instruments. Un nouveau groupe apparaît dans la colonne Zones, dans la partie gauche de l’Éditeur d’instruments. 312 Chapitre 12 EXS24 mkII Pour assigner une zone à un groupe Procédez de l’une des manières suivantes : µ Sélectionnez un groupe dans le menu Group de la zone. µ Sélectionnez une zone dans l’Éditeur d’instruments EXS, le Finder, le chutier audio ou le navigateur et faites-la glisser vers l’un des groupes affichés dans la colonne Zones. µ Faites glisser une zone dissociée (ou plusieurs zones sélectionnées) dans la zone vide située sous l’icône Zones dissociées. Cela crée un nouveau groupe, contenant la ou les zones déplacées. µ Faites glisser une zone (ou plusieurs zones sélectionnées) d’un groupe : • dans un autre groupe. Cela modifie l’assignation du groupe précédent au nouveau groupe. • sur l’icône Zones dissociées. Cela modifie l’assignation du groupe précédent sur non affecté (dissocié). • vers la zone vide située sous l’icône Zones dissociées. Cela crée un nouveau groupe, contenant la ou les zones déplacées. Astuce : le fait de cliquersur Option tout en faisant glisser des zones vers un autre groupe copiera les zones sélectionnées, au lieu de les déplacer. Pour supprimer tous les groupes quine disposent pas d’assignation de zone, procédez comme suit µ Dans l’Éditeur d’instruments, sélectionnez Group > Delete Unused Groups. Modification de zones et de groupes de l’EXS24 mkII Les zones et les groupes offrent des paramètres uniques qui vous permettent de personnaliser votre instrument de l’échantillonneur. Vous pouvez utiliser les paramètres de zone pour modifier les paramètres de hauteur tonale, de plage de vélocité, de panorama et de boucle, ainsi que les autres aspects des zones. Vous pouvez utiliser les paramètres de groupe pour ajuster la vélocité, la sortie et pour décaler les enveloppes et les filtres d’un groupe de zones, par exemple. Les techniques de modification, les commandes de sélection de menu et les autres interactions de paramètres qui sont partagées par les zones et les groupes sont traitées dans les rubriques suivantes : • Commandes courantes d’édition de zones et de groupes de l’EXS24 mkII • Commandes courantes de sélection de zones et de groupes de l’EXS24 mkII • Commandes courantes de tri de zones et de groupes de l’EXS24 mkII • Affichage et masquage des paramètre EXS24 mkII Zone et Group • Édition graphique des zones et des groupes de l’EXS24 mkII Chapitre 12 EXS24 mkII 313 Pour plus d’informations sur les différences de paramètres entre les zones et les groupes, consultez les rubriques Réglage des paramètres de zone de l’EXS24 mkII et Réglage des paramètres EXS24 mkII Group. Remarque : cliquez sur le bouton EXS24 dans le coin supérieur droit de la fenêtre Instrument Editor pour réouvrir une fenêtre de paramètres fermée et la remettre au premier plan. Ce bouton est estompé lorsque la fenêtre des paramètres est ouverte. Commandes courantes d’édition de zones et de groupes de l’EXS24 mkII Le menu Edit gère toutes les opérations de base relatives à l’édition d’instruments de l’échantillonneur, telles que la copie de zones, l’annulation d’opérations d’édition, etc. • Annuler : permet d’annuler la modification la plus récente apportée à l’instrument échantillonné. • Rétablir : annule la dernière commande Undo. • Couper, Le copier, Coller : commandes classiques permettant de couper, copier et coller des valeurs. Vous pouvez également couper, copier et coller des zones et des groupes sélectionnés. • Lorsque vous procédez à la copie de groupes en mode d’affichage Zones, les groupes sélectionnés et leurs zones associées sont copiés. Les assignations de groupe des zones sont conservées. • Lorsque vous procédez à la copie de groupes en mode d’affichage Groups, seuls les groupes eux-mêmes sont copiés, sans les zones qui y sont associées. • Supprimerl : supprime la zone ou le groupe sélectionné(e). Commandes courantes de sélection de zones et de groupes de l’EXS24 mkII Il existe plusieurs façons de sélectionner des zones et des groupes pour les éditer. Le menu Edit contient les commandes de sélection de zones et de groupes suivantes : • Tout sélectionner : permet de sélectionner toutes les zones et tous les groupes de l’instrument échantillonné chargé. • Inverser la sélection : permet d’inverser la sélection entre les zones ou groupes sélectionnés et les zones ou groupes non sélectionnés. Vous pouvez également cliquer sur les zones et les groupes dans la zone des paramètres: • Cliquez sur les paramètres d’une zone ou d’un groupe pour sélectionner cette zone ou ce groupe. • En mode d’affichage Zones, si vous cliquez sur deux zones non adjacentes tout en appuyant sur la touche Maj., ces deux zones et toutes celles qui se trouvent entre elles sont sélectionnées. 314 Chapitre 12 EXS24 mkII • Si vous cliquez sur plusieurs zones tout en maintenant la touche Commande enfoncée, toutes les zones sur lesquelles vous cliquez sont sélectionnées. • Pour sélectionner la zone ou le groupe suivant(e) ou précédent(e), vous pouvez également utiliser les touches « Flèche vers le haut » et « Flèche vers le bas ». Vous pouvez également définir un événement MIDI spécifique à utiliser comme commutateur de sélection de groupes. Consultez Utilisation des paramètres EXS24 mkII Advanced Group Selection. Passage d’une zone d’EXS24 mkII à l’autre avec un clavier MIDI : commande « Select Zone of Last Played Key » Si vous sélectionnez la commande « Select Zone of Last Played Key » dans le menu Zone, vous pouvez passer d’une zone à l’autre en appuyant simplement sur une touche, sur un clavier MIDI connecté. Lorsque cette fonction est activée, vous pouvez continuer à sélectionner des zones en cliquant dessus dans l’éditeur. Passage d’un groupe d’EXS24 mkII à l’autre avec un clavier MIDI : commande « Select Group of Last Played Key » Si vous sélectionnez la commande « Select Group of Last Played Key » dans le menu Group, vous pouvez passer d’un groupe à l’autre en appuyantsimplementsur une touche, sur un clavier MIDI connecté. Cela est utile pour ajuster la vélocité des groupes d’un instrument, par exemple. Commandes courantes de tri de zones et de groupes de l’EXS24 mkII Pour trier des zones et des groupes dans l’Éditeur d’instruments EXS24 mkII, il suffit de cliquer sur l’en-tête de la sous-colonne de référence du tri. Par exemple, pour trier les zones par nom, cliquez sur l’en-tête de sous-colonne Nom de la colonne Zone. Les zones seront alors triées par ordre alphabétique en fonction de leur nom. Chapitre 12 EXS24 mkII 315 Pour trier les groupes en fonction de leur vélocité de départ, de la plus basse à la plus élevée, par exemple, cliquez sur l’en-tête de sous-colonne Basse dans la colonne Plage de vélocité. Le groupe présentant la plage de vélocité de départ la plus basse s’affiche en haut de la liste. Cliquez sur le triangle pour inverser l’ordre de tri. Affichage et masquage des paramètre EXS24 mkII Zone et Group Le menu View vous permet de déterminer les paramètres de zone et de groupe que vous souhaitez voir apparaître dans la zone des paramètres de l’Éditeur d’instruments : • Tout afficher : affiche toutes les colonnes et sous-colonnes disponibles. • Individual Group and Zone display settings : sélectionnez les colonnes et sous-colonnes individuelles que vous souhaitez afficher. Les entrées de zones sont disponibles en mode d’affichage Zones, les entrées de groupes sont disponibles en mode d’affichage Groups. Astuce : appuyez sur Option et sélectionnez une colonne de zone ou de groupe désactivée pour limiter l’affichage à la colonne sélectionnée. • Rétablir les valeurs par défaut : revient à l’affichage par défaut. • Enregistrer comme valeur par défaut : enregistre les paramètres de zone et de groupe en cours comme présentation par défaut pour chaque ouverture de l’Éditeur d’instruments EXS24 mkII. Réglage des paramètres de zone de l’EXS24 mkII Les paramètres de zone offrent un large contrôle sur chaque zone ou échantillon de votre instrument de l’échantillonneur. • Champ Zone Name : affiche le nom de la zone. Un numéro consécutif est automatiquement assigné aux nouvelles zones. Cliquez sur un numéro de zone pour saisir un nom. 316 Chapitre 12 EXS24 mkII • Menu Audio File : affiche le nom du fichier audio. Lorsque vous déplacez le pointeur sur un nom, une info-bulle apparaît avec des informations complémentaires, telles que le format, la profondeur de bits, la fréquence d’échantillonnage, etc. Appuyez sur Commande avant que l’info-bulle n’apparaisse afin d’afficher le chemin de fichier complet dans celle-ci. Cliquez sur la flèche pour ouvrir un menu contextuel proposant les commandes suivantes : • Charger l’échantillon audio : Ouvre une zone de sélection de fichier, dans laquelle vous pouvez sélectionner un fichier audio. Raccourci clavier par défaut : ctrl + F. • Ouvrir dans l’éditeur des échantillons : Ouvre l’échantillon sélectionné dans l’éditeur des échantillons ou dans l’éditeur des échantillons choisi dans la zone de préférence « Ouvrir l’éditeur d’échantillons externes ». Raccourci clavier par défaut : ctrl + W. • Révéler dans le Finder : Affiche le chemin complet du fichier audio chargé dans le Finder. Astuce : double-cliquez sur le nom d’un échantillon dans la colonne Fichier audio > Nom pour ouvrir le fichier audio dans l’éditeur des échantillons. Lorsqu’il n’y a pas de fichier audio chargé, le sélecteur de fichiers audio s’ouvre. • Champs Pitch : touche détermine la note d’origine de l’échantillon, en d’autres termes, la note à laquelle l’échantillon est à sa hauteur tonale d’origine. • Utilisez les champs Coarse et Fine pour accorder l’échantillon par incréments de demi-tons/centièmes. • Champ Volume : ajuste le niveau de sortie global de la zone. • Champ Pan : ajuste la balance de la zone. Ce paramètre fonctionne uniquement lorsque l’EXS24 mkII est utilisé en stéréo. • Champ Scale : Équilibre le niveau d’un échantillon tout au long de la plage de notes sélectionnée. Pour une valeur négative, les notes plus basses que l’emplacement de la note d’origine seront plus fortes que les notes plus hautes ; pour des valeurs positives, vous obtiendrez l’effet inverse. • MenuOutput: détermine lessorties utilisées par la zone. Les choix incluent les principales sorties et les canaux jumelés 3 et 4, 5 et 6, 7 et 8, 9 et 10 ou des sorties individuelles 11 à 16. Cela permet de router des zones individuelles séparément vers des bandes de canaux auxiliaires (dans une instance multisortie de l’EXS24 mkII). • Champs Key Range : les deux paramètres Key Range permettent de définir une plage de notes pour la zone. • Bas : définit la note la plus basse pour la zone. • Haut : définit la note la plus élevée pour la zone. Les notes jouées en dehors de cette plage n’auront pas pour effet de déclencher l’échantillon assigné à cette zone. Chapitre 12 EXS24 mkII 317 • Case Hauteur tonale : cochez cette case pour modifier la hauteur tonale de l’échantillon lorsqu’il est déclenché par différentes notes. Lorsque cette case est décochée, l’échantillon est toujours joué à sa hauteur tonale d’origine, quelle que soit la note jouée. • Case One-shot : si cette case est cochée, la zone ignore la longueur des événements de note MIDI entrants, ce qui se traduit toujours par la lecture intégrale de l’échantillon à chaque réception d’un événement de début de note. Cette option s’avère utile dans le cas d’échantillons de batterie, pour lesquels il n’est le plus souvent pas souhaitable que la durée de la note MIDI soit prise en compte pour la lecture de l’échantillon. Consultez également le paramètre du champ Fade ci-dessous. • Case Inverser : cochez cette case pour lire l’échantillon de la fin au début. • MenuGroup : indique l’assignation de groupe d’une zone. Pour en savoir plus, consultez les rubriques Création de groupes de l’EXS24 mkII et Réglage des paramètres EXS24 mkII Group. • Champs et case Velocity Range : cochez cette case pour définir une plage de vélocité pour la zone. • B(asse) : définit la vélocité la plus basse qui déclenchera la zone. • Haut : définit la vélocité la plus haute qui déclenchera la zone. Les notes jouées en dehors de cette plage de vélocité n’auront pas pour effet de déclencher l’échantillon assigné à cette zone. • Champs Sample Start et End : définit les points de départ et d’arrivée de l’échantillon, respectivement. Cliquez sur chaque champ tout en maintenant la touche ctrl enfoncée pour ouvrir un menu qui vous permet d’ouvrir l’échantillon dans l’Éditeur des échantillons (ou un éditeur externe), où vous pouvez définir graphiquement les points de départ et d’arrivée. Consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. • Champ Fade : détermine le fondu sortant d’un échantillon one-shot. La valeur est indiquée en échantillons. La différence entre la valeur spécifiée dans ce champ et la valeur affichée dans le champ End détermine la durée du fondu sortant. Plus la valeur est faible, plus l’échantillon met de temps pour atteindre le niveau 0 (au point d’arrivée de l’échantillon). Cette option est estompée lorsque la case Boucle activée est cochée. Pour obtenir des détails sur les fonctions de boucle de la zone, consultez Utilisation des paramètres EXS24 mkII Zone Loop. 318 Chapitre 12 EXS24 mkII Remarque : par défaut, la valeur de ce paramètre est de 0, à l’exception des situations dans lesquelles l’instrument de l’échantillonneur est créé avec la commande Audio > « Convertir les régions en une nouvelle piste d’échantillonneur ». Cette fonction utilise des marqueurs d’éléments transitoires et se traduit par une valeur de champ Fade par défaut qui correspond au décalage de découpage du marqueur d’élémentstransitoires suivant. Utilisation des paramètres EXS24 mkII Zone Loop L’EXS24 mkII peut lire en boucle tout ou partie d’un échantillon, à la réception de notes MIDI tenues. • Case Boucle activée : cochez cette case pour activer la mise en boucle et autoriser l’accès aux autres paramètres de mise en boucle. • Champs Loop Start, Loop End : définissez des points de départ et d’arrivée de boucle discrets, pour pouvoir lire une partie d’un fichier audio en boucle. • Cliquez sur chaque champ tout en maintenant la touche ctrl enfoncée pour ouvrir un menu contextuel qui vous permet d’accéder à l’Éditeur des échantillons (ou à un éditeur externe). Cela vous permet de définir graphiquement les points de départ et d’arrivée de la boucle : le point de départ Loop Start est représenté par le marqueur LS et le point d’arrivée Loop End par le marqueur LE. Consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. • Champ Tune : affine l’accord de la partie du fichier audio lue en boucle, par incréments de centièmes. • Champ Xfade (Crossfade) : détermine le temps de fondu enchaîné entre la fin/le début d’un échantillon mis en boucle. Dans une boucle avec fondu enchaîné, il n’y a aucune « étape » entre le point d’arrivée et le point de départ de la boucle. Plus la valeur est élevée, plus le fondu enchaîné dure et plus la transition entre les points de départ et d’arrivée de boucle est progressive. Cette fonction s’avère particulièrement pratique pour les échantillons difficiles à lire en boucle, pour lesquels surviendraient des clics au point de jonction de la boucle. Chapitre 12 EXS24 mkII 319 • Case E. Pwr (Equal Power) : cochez cette case pour appliquer au fondu enchaîné une forme d’onde exponentielle, créant une augmentation du volume sonore de 3 dB au milieu de la plage du fondu enchaîné. Cette option entraîne un fondu sortant/entrant dans la liaison entre la fin et le début de la boucle, à un volume sonore constant. Remarque : les paramètresidéaux pour les paramètres Xfade. et E. dépendent du matériel de l’échantillon. Une boucle se lisant déjà sans discontinuité trop marquée constitue un point de départ idéal pour obtenir une boucle avec un fondu enchaîné parfait, mais, à l’inverse, ce n’est pas parce que vous lui appliquez un fondu enchaîné qu’un raccord de boucle sonne forcément mieux. Faites l’expérience des deux paramètres pour savoir où, quand et comment leur fonctionnement est optimal. Réglage des paramètres EXS24 mkII Group Les paramètres de groupe offrent un contrôle simultané de toutes les zones assignées. • Champ Group Name : affiche le nom du groupe. Cliquez dessus pour saisir un nom. • Champs Key Range : définissent une plage de notes pour le groupe. • B(asse) :Définit la note la plus basse pour le groupe. • H(aute) :Définit la note la plus élevée pour le groupe. Les notes jouées en dehors de cette plage n’auront pas pour effet de déclencher les zones assignées à ce groupe. Remarque : prenez votre temps pour utiliser ces paramètres : étant donné qu’ils remplacent les réglages des plages de zone, il est possible qu’ils rendent certaines zones inaudibles. • Vol(ume) : ajuste le volume global du groupe et, par conséquent, le volume de toutes les zones du groupe. Ce paramètre fonctionne de façon similaire à un sous-groupe sur une console de mixage. • Pan : ajuste la balance du groupe, la balance stéréo dans le cas d’échantillons stéréo, et donc simultanément la balance de toutes les zones assignées. Remarque : ce paramètre affecte les réglages de balance des zones individuelles. • Output : détermine les sorties utilisées par le groupe. Les choix incluent les principales sorties et les canaux jumelés 3 et 4, 5 et 6, 7 et 8, 9 et 10 ou des sorties individuelles 11 à 16. Cela permet de router des groupes individuels séparément vers des canaux auxiliaires dans une instance multisortie de l’EXS24 mkII. 320 Chapitre 12 EXS24 mkII Remarque : ce paramètre présente un impact sur les assignations de sortie de zone individuelles. • Poly. (Polyphonie : détermine le nombre de voix que le groupe peut jouer. L’option Max permet de s’assurer que le groupe utilise toutes les voix autorisées par le paramètre Voice de la fenêtre des paramètres. Pour obtenir un exemple d’utilisation de ce paramètre, consultez la barre latérale Mode charleston : utilisation du paramètre Poly d’EXS24 mkII. • Menu Trigger : détermine si les zones pointant sur ce groupe sont déclenchées en appuyant sur une touche (réglage Key Down) ou en relâchant une touche (réglage Key Release). Ce paramètre est utile pour simuler les « clics » de touches d’un orgue, vous pouvez par exemple vouloir déclencher une note en appuyant sur une touche, mais déclencher un « clic » en relâchant une touche. • Case Dc (Decay) et champ Decay Time : cochez cette case pour accéder au paramètre Decay Time. • Champ (Decay) Time :détermine le temps nécessaire pour la chute du niveau d’un échantillon (déclenchée par le relâchement d’une touche). Remarque : les paramètres Decay fonctionnent uniquement lorsque le paramètre Trigger est défini sur Key Release. • Champs Cutoff and Reso(nance) : décale séparément les paramètres Cutoff et Resonance pour chaque groupe. Cela peuts’avérer utile si voussouhaitez que l’impact initial d’une note ne soit pas filtré pour un groupe, mais qu’il le soit pour les autres. • Champs Envelope 1/Envelope 2 Offsets: décale séparément les paramètres d’enveloppe dans la fenêtre des paramètres pour chaque groupe. Cela peut s’avérer utile si vous souhaitez que les enveloppes de filtre (enveloppe 1) ou de volume (enveloppe 2) affectent les échantillons d’un groupe après l’impact initial des sons déclenchés. • Champ H (Hold) : Détermine le temps pendant lequel l’enveloppe sera conservée au niveau d’attaque maximum, avant le début de la phase de chute. Remarque : lorsque le paramètre Trigger est défini sur Key Release, le paramètre Decay Time contrôle le niveau de chute, plutôt que l’Enveloppe 2 (l’enveloppe de volume). Ainsi, lorsque le paramètre Trigger est défini sur Key Release, le paramètre Envelope 2 Offsets n’a aucun effet. • Plage de vél(ocité) : définit une plage de vélocité pour le groupe. La plage de vélocité est utile pour lessons où voussouhaitez mixer des échantillons de manière dynamique ou permuter entre eux en jouant de manière plus ferme ou plus douce sur le clavier MIDI. Cette fonction est idéale pour lessonssuperposés, tels qu’une couche piano/corde, ou lors de la permutation entre différents échantillons de percussions, par exemple. • Bas : définit la vélocité la plus basse qui déclenchera le groupe. Chapitre 12 EXS24 mkII 321 • Haut : définit la vélocité la plus haute qui déclenchera le groupe. Les notes jouées en dehors de cette plage de vélocité ne déclenchent pas les zones assignées à ce groupe. Remarque : les réglages définis ici remplacent les réglages de zone : lorsque la plage de vélocités d’une zone est plus étendue que celle du groupe, elle est limitée par le réglage du groupe. Mode charleston : utilisation du paramètre Poly d’EXS24 mkII Une application pratique du paramètre Poly est de configurer un « mode charleston » classique à l’intérieur d’une batterie complète, dont les sons sont répartis sur toute l’étendue du clavier. Dans ce scénario, vous pouvez assigner un échantillon charleston ouvert et fermé à un groupe et définir le paramètre Voice du groupe sur 1. Dans cet exemple, celui des deux échantillons charleston déclenché en dernier désactive le son de l’autre, une seule voix étant autorisée pour le groupe. Ce comportement est conforme à la réalité : un son de charleston ne peut être à la fois ouvert et fermé. Lorsque les échantillons se trouvant dans des zones sont assignés à un autre groupe, les autres sons de batterie peuvent toujours être joués de façon polyphonique. Utilisation des paramètres EXS24 mkII Advanced Group Selection Vous pouvez définir un événement MIDI spécifique à utiliser comme commutateur de sélection de groupes. Dès que l’événement de sélection défini est déclenché, les zones pointant vers ce groupe peuvent être lues, tandis que les autres groupes (sélectionnés à l’aide d’un événement différent) ne sont pas lus. L’événement défini ne lit pas de son et n’en modifie pas non plus ; il sert simplement de commutateur de sélection de groupe. Cliquez ici pour améliorer les critères de sélection. 322 Chapitre 12 EXS24 mkII Cette fonction utilise une note MIDI, un contrôleur et des événements de Pitch Bend (sur un canal MIDIspécifié). Vous devez d’abord définir un nombre de groupes comme « base » pour la commande Sélectionner par. Une fois le nombre de groupes défini, la sélection d’un groupe particulier signifie que seules les zones pointant vers ce groupe seront lues et que d’autres groupes ne le seront pas. Par exemple, si vous souhaitez que l’EXS24 mkII bascule automatiquement entre deux groupes d’échantillons d’instruments à cordes, l’un pour les échantillons en staccato et l’autre pour ceux en legato, vous pouvez utiliser pour les notes MIDI le menu Select Group By, et assigner une note MIDI différente pour le déclenchement de chaque groupe. De cette manière, vous pouvez utiliser une note (qui ne déclenche pas de son) comme commutateur de groupe à distance. Vous pouvez affiner davantage les conditions de sélection de groupes en cliquant sur le signe plus dans le coin supérieur droit de la colonne Sélection par regroupement. Pour poursuivre l’exemple de couche d’instrument à cordes staccato et legato, vous pouvez spécifier qu’un message de contrôleur permute entre différentes articulations. Pour obtenir un autre exemple d’utilisation de cette fonction, consultez Réassociation d’événements des roulettes de modulation et de Pitch Bend dans l’EXS24 mkII. Cliquez sur le signe moins pour supprimer une condition Sélection par regroupement et élargir les critères de sélection de groupes. Chapitre 12 EXS24 mkII 323 Réassociation d’événements des roulettes de modulation et de Pitch Bend dans l’EXS24 mkII Pour créer des performances réalistes de manière simple et intuitive, les instruments Jam Pack 4 (orchestre symphonique) utilisent la roulette de modulation pour permuter entre les articulations : legato, staccato, etc. La roulette de Pitch Bend est utilisée pour modifier l’expression : crescendo, diminuendo, etc. Vous trouverez davantage d’informations à ce sujet dans la documentation de Jam Pack 4. Vous pouvez réaliser cette opération en réassociant en interne les événements de Pitch Bend au contrôleur MIDI 11 et les événements de roulette de modulation au contrôleur MIDI 4. Pour garantir la compatibilité avec les instruments de Jam Pack 4, l’EXS24 mkII utilise automatiquement ce comportement de réassociation pour les instruments de Jam Pack 4. Vous pouvez également utiliser ce modèle de réassociation pour d’autres instruments en sélectionnant l’élément « Assigner la roulette de modulation et de ton à Ctrl. 4 et 11 » dans le menu Instrument. L’EXS24 mkII réassocie alors respectivement les événements entrants de la roulette de Pitch Bend et ceux de la roulette de modulation au contrôleur n°11 ou au contrôleur n°4. Les fonctionnalités de roulette de modulation et de Pitch Bend par défaut ne peuvent pas être utilisées dans ce mode. Édition graphique des zones et des groupes de l’EXS24 mkII L’édition des zones et des groupes ne se fait pas uniquement dans la section des paramètres. Vous pouvez aussi éditer graphiquement un certain nombre de paramètres de zone et de groupe, dans la zone d’affichage Zones ou Groups, au-dessus du clavier. Pour éditer le fichier audio d’une zone, consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. Pour déplacer une zone ou un groupe µ Faites glisser la zone ou le groupe vers l’emplacement souhaité. 324 Chapitre 12 EXS24 mkII Pour déplacer plusieurs zones ou groupes µ Cliquez en appuyant sur la touche Maj ou faites glisser les zones ou les groupes, puis faites-les glisser vers l’emplacement souhaité. Pour modifier la note d’origine lors du déplacement d’une zone µ Maintenez enfoncée la combinaison Commande + Option tout en faisant glisser la zone. Pour modifier lanote de début ou de fin d’une zone ou d’un groupe, procédez comme suit 1 Placez le curseur au début ou à la fin d’une zone ou d’un groupe (le curseurse transforme en icône de redimensionnement). 2 Faites glisser le début ou la fin de la zone ou du groupe vers l’emplacement souhaité. Pour déplacer une zone horizontalement µ Utilisez l’un des raccourcis clavier suivants : • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la gauche : option + Flèche gauche • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la droite : option + Flèche droite Pour déplacer la note d’origine et l’emplacement de la zone µ Utilisez l’un des raccourcis clavier suivants : • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la gauche (avec tonalité d’origine) : maj. + Option + touche Flèche vers la gauche • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la droite (avec note fondam.) : maj. + Option + touche Flèche vers la droite Chapitre 12 EXS24 mkII 325 Pour éditer la plage de vélocité d’une zone ou d’un groupe, procédez comme suit 1 Cliquez sur le bouton Show Velocity, tout en haut de l’Éditeur d’instruments (ou utilisez le raccourci clavier Afficher/Masquer la vélocité). La zone d’affichage de la vélocité s’ouvre au-dessus de la zone d’affichage des zones ou des présentations. 2 Dans la zone d’affichage, cliquez sur un(e) ou plusieurs zones ou groupes. Les barres de vélocité des zones ou des groupes sélectionné(e)s apparaissent en surbrillance dans la zone d’affichage de la vélocité. 3 Déplacez le curseur sur la valeur High ou Low de la barre de vélocité que vous souhaitez modifier (le curseur se transforme en icône de redimensionnement). 4 Faites-le glisser vers le haut pour augmenter la valeur ou vers le bas pour la réduire. Enregistrer, renommer et exporter des instruments de l’EXS24 mkII Toutes les opérations de base relatives aux fichiers des instruments de l’échantillonneur sont accessibles via le menu Instrument de l’Éditeur d’instruments. • Enregistrer : enregistre l’instrument échantillonné chargé. Lors de la création d’un instrument, lorsque vous l’enregistrez pour la première fois, le système vous demande de lui attribuer un nom. Si vous éditez un instrument de l’échantillonneur existant et que vous utilisez cette commande, c’est le nom du fichier existant qui est utilisé et l’instrument d’origine est remplacé. Vous pouvez aussi utiliser le raccourci clavier Save Instrument. 326 Chapitre 12 EXS24 mkII • Enregistrer sous : enregistre l’instrument de l’échantillonneur qui est actuellement chargé, mais vous serez invité à fournir un nom de fichier (différent). Utilisez cette commande pour enregistrer une copie ou plusieurs versions d’un instrument de l’échantillonneur édité, au lieu d’écraser la version d’origine. • Rennomer : renomme l’instrument de l’échantillonneur chargé. La version renommée remplace la version d’origine sur le disque dur. • Exporterl’instrument de l’échantillonneur etlesfichiers des échantillons: copie l’instrument de l’échantillonneur sélectionné (y compris tous les fichiers audio associés) vers un autre emplacement de dossier. La sélection de cette commande ouvre un sélecteur de fichiers standard. Vous pouvez accéder à un dossier existant ou créer un nouveau dossier. Vous pouvez également utiliser le raccourci clavier correspondant (ctrl + C par défaut). Édition d’échantillons dansl’Éditeur des échantillons de l’EXS24 mkII MainStageL’EXS24 mkII et l’éditeur des échantillons étant intégrés pour fonctionner ensemble, l’EXS24 mkII ne nécessite pas d’éditeur graphique intégré. Le moyen le plus intuitif d’ajuster les points de départ et d’arrivée d’échantillon et de boucle consiste à travailler directement sur une représentation visuelle de la forme d’onde. Pour ouvrir l’Éditeur des échantillons µ Cliquez tout en maintenant la touche ctrl enfoncée sur les champs des paramètres Loop Start ou Loop End de la zone que vous souhaitez éditer dans la fenêtre Instrument Editor. Chapitre 12 EXS24 mkII 327 Cela ouvre un menu contextuel, que vous pouvez utiliser pour ouvrir l’échantillon sélectionné dansl’éditeur des échantillons de (ou l’éditeur des échantillons externe défini dans les préférences, consultez MainStageUtilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII). Pour éditer les bords des échantillons et les points de boucle 1 Une fois l’échantillon ouvert dans l’Éditeur des échantillons, vous pouvez faire glisser ses bords et ses points de boucle de manière graphique. Le début de boucle est représenté par le marqueur DB. La fin de boucle est représentée par le marqueur FB. L’Éditeur des échantillons présente plusieurs commandes de boucle pratiques qui peuvent accélérer votre flux de travaux. Consultez Utilisation des commandes de boucle de l’Éditeur des échantillons de l’EXS24 mkII. 2 Une fois les éditions terminées, enregistrez l’échantillon. Les nouvelles valeurs écrites dans l’en-tête du fichier audio sont utilisées par l’EXS24 mkII. Remarque : les échantillons édités peuvent présenter des valeurs qui ne sont pas précisément indiquées dansl’Éditeur d’instruments. Consultez Mise à jour desinformations sur les zones de l’EXS24 mkII. Mise à jour des informations sur les zones de l’EXS24 mkII MainStageUne fois que vous avez enregistré et réouvert un échantillon qui a été édité dans l’Éditeur des échantillons ou dans un éditeur d’échantillons non conçu par Apple, il est probable que les valeurs des points de départ et d’arrivée ou des points de boucle indiquées dans la zone des paramètres ne soient plus exactes. Pour mettre à jour les informations sur les zones µ Ouvrez le menu Zone et sélectionnez la commande « Update Selected Zone(s) Info from Audio File ». Cette fonction lit les réglages de boucle et les points de départ et d’arrivée directement à partir du fichier audio et met à jour les réglages de la zone, indiqués dans la zone des paramètres, en conséquence. Utilisation des commandes de boucle de l’Éditeur des échantillons de l’EXS24 mkII Le menu Edit de l’Éditeur des échantillons inclut les éléments Sample Loop → Selection, Selection → Sample Loop et « Write Sample Loop to Audio File ». Pour utiliser les commandes Boucle d’échantillon de l’Éditeur des échantillons 1 Choisissez les commandes de sélection dans le menu Edit de l’Éditeur des échantillons : • Sample Loop → Selection : la zone de la boucle définie par les points de départ et d’arrivée de la boucle permet de sélectionner une partie du fichier audio global. • Selection → Sample Loop : la zone sélectionnée permet de définir les points de début et de fin de la boucle. 328 Chapitre 12 EXS24 mkII 2 Après avoir sélectionné la zone de votre choix à l’aide de l’une des commandes ci-dessus, choisissez Edit > Write Sample Loop to Audio File. Les nouvelles valeurs de la boucle seront inscrites dans l’en-tête du fichier audio. Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII L’EXS24 mkII vous permet d’utiliser des applications externes telles que le keymap de Redmatica pour éditer vos instruments EXS. Pour ouvrir vos instruments EXS dans un éditeur d’instruments externe 1 Sélectionnez Options > Open in external Instrument Editor dans la fenêtre EXS24 mkII Parameter 2 Dansle sélecteur de fichiers, recherchez etsélectionnez le logiciel d’éditeur d’instruments de votre choix. 3 Répétez l’étape 1, maissélectionnez la commande «Open in [name of external instrument editor] ». C’est la même commande que celle indiquée ci-dessus, mais elle est automatiquement renommée après l’assignation d’un éditeur d’instruments externe. 4 Éditez l’instrument dans l’éditeur d’instruments externe, puis utilisez-le pour renvoyer l’instrument vers.MainStage Important : vous devez enregistrer l’instrument édité dans MainStage, pas dans l’éditeur externe, pour rendre permanent tout changement d’instrument. Pour réassigner l’éditeur d’instruments externe µ Maintenez enfoncée la commande Option tout en sélectionnant Options > Open in [name of external instrument editor]. Importation des instruments de l’échantillonneur de l’EXS24 mkII L’EXS24 mkII est compatible avec les formats d’échantillons AKAI S1000 et S3000, SoundFont2, SampleCell, DLS, Gigasampler et ReCycle, ainsi qu’avec Vienna Library. Consultez les rubriques suivantes : Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler Conversion de fichiers ReCycle en instruments EXS Conversion des fichiers AKAI avec l’EXS24 mkII Chapitre 12 EXS24 mkII 329 Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler L’EXS24 mkII reconnaît les fichiers SoundFont2, SampleCell, DLS et Gigasampler placés dans le dossier des instruments de l’échantillonneur et les convertit en instruments de l’échantillonneur. Pour importer des fichiers SoundFont2, SampleCell, DLS ou Gigasampler dans l’EXS24 mkII, procédez comme suit 1 Copiez ou déplacez vos fichiers SoundFont2, SampleCell, DLS ou Gigasampler dans le dossier ~/Bibliothèque/Application Support/Logic/Sampler Instruments. 2 Sélectionnez le fichier SoundFont2, SampleCell, DLS ou Gigasampler dans le menu local des instruments de l’échantillonneur de l’EXS24 mkII. L’EXS24 mkII convertit automatiquement le fichier de votre choix en instrument de l’échantillonneur EXS : • Un fichier instrument EXS est créé dans le dossier des instruments de l’échantillonneur. Ce dossier contient le fichier dans son format d’origine. • Les échantillons bruts associés à l’instrument de l’échantillonneur sont placés dans l’un des dossiers suivants, en fonction du format à convertir : • ~/Bibliothèque/Application Support/Logic/SoundFont Samples • ~/Bibliothèque/Application Support/Logic/SampleCell Samples • ~/Bibliothèque/Application Support/Logic/Gigasampler Samples • ~/Bibliothèque/Application Support/Logic/DLS Samples Échantillonneur Instruments Échantillons DLS (dossier) SampleCell Échantillons (dossier) Gigasampler Échantillons (dossier) SoundFont Échantillons (dossier) Instruments de l’échantillonneur (dossier) Logic (dossier) Gigasampler échantillonneur instrument DLS échantillonneur instrument SampleCell échantillonneur instrument SoundFont échantillonneur instrument La procédure définie ci-dessus s’applique également lors de l’importation de fichiers de banque SampleCell et SoundFont2. Cestypes de fichiers contiennent plusieurssons, outre les fichiers d’instruments uniques. 330 Chapitre 12 EXS24 mkII Lorsque vous chargez un fichier de banque SampleCell ou SoundFont2 dansl’EXS24 mkII, un dossier Banque et un dossier Échantillons sont créés, d’après le nom du fichier de banque SampleCell/SoundFont2. Les termes « Banque » ou « Échantillons » sont ajoutés à chaque nom de dossier. Un fichier d’instrument de l’échantillonneur EXS est automatiquement créé pour tous les sons de la banque et placés dans le nouveau dossier Banque. Le menu local des instruments de l’échantillonneurse met automatiquement à jour pour refléter la nouvelle hiérarchie du dossier. Pour chaque échantillon associé au fichier Banque, un dossier Échantillons est automatiquement créé dans le dossier SoundFont/SampleCell. Par exemple, si vous chargez dans l’EXS24 mkII un fichier de banque SoundFont2 nommé « Vintage Drums » contenant plus de 50 batteries individuelles provenant de batteries vintage différentes, ce qui suit se produit : • Un nouveau dossier nommé « Banque Vintage Drums » est créé dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur. • Un second dossier nommé « Échantillons Vintage Drums » est créé dans le dossier ~/Bibliothèque/Application Support/Logic/Échantillons SoundFont. • La hiérarchie du menu local Instruments de l’échantillonneur est mise à jour et l’entrée Vintage Drums d’origine est remplacée par une entrée Vintage Drums.Bank. Cette nouvelle entrée est un dossier contenant chaque instrument de l’échantillonneur. Elle peut être sélectionnée et chargée normalement. Échantillonneur Catégorie d’instrument Logic (dossier) Instruments de l’échantillonneur Instruments de l’échantillonneur (dossier) Échantillons EXS (dossier) Échantillons SoundFont (dossier) Basses (dossier) Banque batterie classique (dossier) Basses acoustiques (instrument de l’échantillonneur) Batterie classique, kit 1 (instrument de l’échantillonneur) Échantillons de batterie classique Échantillons de basses acoustiques Une foisla conversion terminée, lesfichierssource SoundFont2, SampleCell ou Gigasampler d’origine peuvent être librement supprimés des disques durs. Chapitre 12 EXS24 mkII 331 Remarque : lesinstruments échantillonnésimportés peuvent être stockés dans n’importe quel dossier des disques durs de votre ordinateur. Pour accéder à ces instruments à partir du menu local Instruments de l’échantillonneur, vous devez créer un alias pointant vers le dossier cible dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur. Conversion de fichiers ReCycle en instruments EXS ReCycle, programme d’édition d’échantillons du logiciel Propellerhead, peut générer un certain nombre de types de fichiers lisibles par .MainStage et l’EXS24 mkII ReCycle permet de diviser un échantillon en petitssegments appeléstranches, en fonction des crêtes de forme d’onde, appelées éléments transitoires, dans le fichier audio. ReCycle est donc capable de découper un fichier audio en coupes musicales pertinentes. La synchronisation de cestranches, dans une boucle de batterie, par exemple, est également associée à une région automatiquement générée, dans .MainStage L’EXS24 mkII prend en charge les types de fichiers ReCycle suivants : • Fichier Old ReCycle : ces fichiers ont pour suffixe .rcy. Leur abréviation est RCSO. Ils ne sont actuellement plus beaucoup utilisés. • Fichier d’exportation Old ReCycle : ces fichiers ont pour suffixe .rex. Leur abréviation est REX. Plusieurs anciennes bibliothèques d’échantillons incluent les fichiers au format REX. • Fichier ReCycle 2.0 : ces fichiers ont pour suffixe .rx2. Leur abréviation est REX2. Ils sont beaucoup utilisés par le logiciel Propellerheads Reason et de nombreuses bibliothèques d’échantillons incluent ce format de fichier. Génération d’une zone pour chaque coupe La commande « Extraire la région MIDI et créer un instrument » permet de créer un instrument EXS24 à partir d’un fichier ReCycle et de générer une zone indépendante pour chaque tranche. Pour créer uninstrument EXS et attribuer chaque coupe à une zone, procédez comme suit 1 Dans l’Éditeur d’instruments, sélectionnez Instrument > Conversion ReCycle > « Extract MIDI Region and Make New Instrument ». 2 Sélectionnez le fichier ReCycle de votre choix dans le sélecteur de fichiers, puis cliquez sur Open. 332 Chapitre 12 EXS24 mkII 3 Saisissez un facteur de vélocité dans la fenêtre Create MIDI Region (consultez ce qui suit pour obtenir des informations sur les régions). Le facteur de vélocité analyse le volume, crête d’élément transitoire, de chaque tranche dans le fichier ReCycle importé. Il associe ensuite cette valeur à une valeur de vélocité correspondante pour l’événement de note MIDI qui déclenche généralement la tranche. • Si vous entrez une valeur positive (jusqu’à 100), les tranches dont le volume est plus fort génèreront des événements de notes MIDI avec des valeurs de vélocité plus élevées. • Si vous entrez une valeur négative, ces mêmes tranches génèreront des vélocités de notes MIDI moins élevées pour chaque événement de note. 4 Cliquez sur OK. L’EXS24 mkII génère une zone pour chaque tranche du fichier ReCycle importé et attribue ces zones à un groupe unique. Le nouvel instrument EXS est nommé d’après la boucle ReCycle. Si un instrument EXS portant ce nom existe déjà, il sera suivi du symbole (#) et d’un numéro. Par exemple,si vousimportez un fichier ReCycle nommé « Tricky Backbeat » et qu’un instrument de l’échantillonneur portant le nom de « Tricky Backbeat » existe déjà, l’instrument importé aura pour nom « Tricky Backbeat#1 », afin que ce nom de fichier soit unique dans le dossier des instruments de l’échantillonneur. Une région MIDI est également générée sur la piste sélectionnée, au niveau du projet en cours, arrondi à la mesure. Cette région MIDI permet de déclencher les coupes au moment défini par le fichier ReCycle. Vous pouvez librement modifier ou supprimer la région car il est possible d’en générer de nouvelles à tout moment à partir de l’instrument EXS importé (consultez Génération d’une région MIDI à partir d’un instrument ReCycle). La commande « Extraire la région MIDI et ajouter des échantillons à cet instrument » permet d’ajouter les tranches d’une boucle ReCycle à n’importe quel instrument EXS ouvert dans l’Éditeur d’instruments. Vous pouvez ainsi utiliser plusieurs boucles ReCycle différentes dans un seul instrument échantillonné. Chapitre 12 EXS24 mkII 333 Attribution de toute la boucle ReCycle à une zone La commande Instrument > Conversion ReCycle > « Découper la boucle et créer un instrument » crée un instrument EXS à partir d’une boucle ReCycle. Chaque tranche est associée de manière chromatique sur le clavier, des notes basses aux notes élevées. Chaque zone reproduit la boucle ReCycle jusqu’au point d’arrivée, au tempo du projet en cours. La zone inférieure lira donc toute la boucle, tandis que la zone supérieure lira uniquement la dernière tranche. Les notes entre les zones inférieure et supérieure liront plusieurs tranches. Cela permet de déclencher une note à l’ancienne, dans le style « drum’n’bass », le point de départ de la boucle étant déterminé en jouant les notes respectives sur le clavier. La commande Instrument > Conversion ReCycle > « Découper la boucle et ajouter des échantillons à l’instrument » ajoute les zones de la boucle découpée à l’instrument de l’échantillonneur actif. Collage de boucles à partir du Presse-papiers La commande Édition > « Coller la boucle ReCycle comme nouvel instrument » crée un instrument EXS à partir de la boucle ReCycle copiée dans le Presse-papiers à l’aide de la fonction « Copier la boucle de ReCycle ». Cette méthode de création d’instrument donne le même résultat que lorsque vous utilisez la commande « Extraire la région MIDI et créer un instrument ». La commande Édition > « Coller la boucle ReCycle à cet instrument » ajoute les zones à l’instrument de l’échantillonneur actif. Génération d’une région MIDI à partir d’un instrument ReCycle Vous pouvez générer une région MIDI à partir de fichiers ReCycle importés. Ces régions déclenchent les tranches importées au moment défini par les fichiers ReCycle. Pour générer une nouvelle région MIDI à partir d’un instrument ReCycle, procédez comme suit µ Sélectionnez Instrument > Conversion ReCycle > « Extract Region(s) from ReCycle Instrument ». Les régions MIDI sont créées sur la piste sélectionnée, au niveau du projet en cours, arrondi à la mesure. Une région MIDI est générée pour chaque boucle ReCycle importée dans l’instrument ouvert. Cette fonction nécessite également un facteur de vélocité (consultez Génération d’une zone pour chaque coupe). Conversion des fichiers AKAI avec l’EXS24 mkII L’EXS24 mkII permet d’importer des échantillons aux formats AKAI S1000 et S3000. La fonction de conversion AKAI permet d’importer : • l’intégralité d’un CD-ROM au format AKAI, 334 Chapitre 12 EXS24 mkII • une partition AKAI, • un volume AKAI, • un programme AKAI, • un fichier audio seul (échantillon). Pour convertir des fichiers AKAI, procédez comme suit 1 Ouvrez le menu local Options dans la fenêtre des paramètres, puis sélectionnez AKAI Convert. Cela ouvre la fenêtre AKAI Convert, avec le texte Waiting for AKAI CD affiché sur les quatre colonnes. Pour en savoir plus, consultez la rubrique Paramètres EXS24 mkII AKAI Convert Window. 2 Insérez un disque d’échantillon au format AKAI dans votre lecteur optique. Le contenu du disque s’affiche. La colonne Partition contient les informations : Partition A, Partition B, etc. 3 Pour visualiser le contenu des partitions, cliquez sur l’entrée de votre choix pour afficher les informations sur le volume contenues dans la partition. Chapitre 12 EXS24 mkII 335 4 Pour naviguer plus avant dans la hiérarchie des dossiers du disque, cliquez sur les entrées de volume pour afficher tout programme contenu. Cliquez sur les entrées de programme pour afficher les fichiers audio bruts ou échantillons. Vous pouvez utiliser le bouton Prelisten en dessous de la colonne Fichier audio pour écouter des fichiers audio AKAI avant de décider de les importer ou pas. 5 Si vous le souhaitez, définissez tout paramètre de conversion AKAI supplémentaire, en bas de la fenêtre (consultez Paramètres EXS24 mkII AKAI Convert Window). 6 Une fois que vous avez sélectionné une partition, un volume ou un programme, cliquez sur le bouton Convert sous la colonne correspondante. Remarque : pour convertir l’intégralité d’un CD-ROM AKAI, cliquez sur le bouton Convert entire CD situé dans l’angle inférieur droit de la fenêtre AKAI Convert. La partition, le volume ou le programme sélectionné(e) est alors importé(e), ainsi que tous les fichiers audio associés. Logic (dossier) Instruments de l’échantillonneur (dossier) Échantillonneur AKAI Instruments AKAI Échantillons (dossier) Fichiers audio (échantillons) • Les fichiers audio importés sont stockés dans un dossier nommé d’après le volume. Ce dossier est créé dansle dossier ~/Bibliothèque/Application Support/Logic/AKAI Samples. 336 Chapitre 12 EXS24 mkII • Le nom des instruments de l’échantillonneur créés par le processus d’importation est le même que celui du programme correspondant. Cesinstruments de l’échantillonneur sont placés dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur ou dans le sous-dossier déterminé par le paramètre « Enregistrer le fichier instrument converti dans le sous-dossier ». Les sous-dossiers (dont le nom correspond au volume) sont créés lors de la conversion d’une partition. Si le volume ne contient qu’un seul programme, aucun sous-dossier n’est créé. Les sous-dossiers dont le nom correspond à la partition sont créés lors de la conversion de plusieurs partitions. Le menu local Instruments de l’échantillonneur affiche les instruments convertis de la façon suivante : Paramètres EXS24 mkII AKAI Convert Window La rubrique suivante explique les paramètres contenus dans la fenêtre AKAI Convert de l’EXS24 mkII. Pour en savoir plus sur la conversion de fichiers AKAI en instruments EXS, consultez Conversion des fichiers AKAI avec l’EXS24 mkII. • Enregistrerle fichierinstrument converti dansle sous-dossier: utilisez ce paramètre lorsque vous importez un disque entier. Il permet de créer un dossier dont le nom reflète celui du disque. Vous avez également la possibilité d’enregistrer vos instruments convertis dans un sous-dossier en fonction d’une catégorie, par exemple, Cordes. Ainsi, si votre disque AKAI est constitué d’échantillons d’instruments à cordes, tous les programmes ou volumes importés seront ajoutés au sous-dossier Cordes. • Pour entrer le nom d’un sous-dossier, cliquez dans le champ de ce paramètre, entrez le nom de votre choix, puis appuyez sur Retour. Tous les volumes et programmes importés seront automatiquement ajoutés à ce dossier. Chapitre 12 EXS24 mkII 337 Remarque : si le nom utilisé existe déjà, l’instrument de l’échantillonneur importé sera ajouté au dossier. Aucun dossier portant ce nom n’est créé. • Volume de sortie par défaut de l’instrument (head room) : il modifie le volume de sortie principal de façon non-destructive dans la fenêtre des paramètres. Ce paramètre peut être ajusté après la conversion. Au format AKAI, les sons de nappe de niveau constant et les instruments polyphoniques ont généralement un niveau de sortie plus élevé qu’un « drum groove », par exemple. Les niveaux de sortie de certainsinstruments AKAI convertis peuvent ainsi être beaucoup plus élevés que ceux du reste de votre bibliothèque d’instruments échantillonnés EXS24 mkII (les programmes convertis ont parfois un tel niveau sonore qu’ilsse coupent). Vous pouvez régler ce paramètre à votre convenance, de façon à limiter la réserve dynamique (le niveau de sortie) des réglages des paramètres de l’EXS24 mkII pour chaque programme AKAI converti. Pour trouver la valeur adéquate pour un disque AKAI, rien de tel que de faire vous-même quelques essais et d’apporter des corrections en fonction de vos besoins. Voici néanmoins quelques suggestions qui pourront vous aider : • Pour les disques de batterie, commencez soit sans rien changer (0 dB), soit avec une réserve dynamique de -3 dB. • Pour les disques de piano, cordes ou nappes, vous pouvez essayer une valeur de -9 dB. • Pour les programmes très sonores, tels que ceux des synthétiseurs analogiques superposés, vous pouvez même essayer avec -12 dB. • Si vous ne savez pas trop quelle valeur de réserve dynamique sélectionner, commencez par un réglage de -6 dB (valeur moyenne). • Fusionner les programmes (même canal MIDI et numéro de Prog. Change) en un seul instrument EXS : de nombreux disques créés pour les échantillonneurs AKAI proposent des programmes contenant plusieurs couches de vélocité « élémentaires » par instrument. Les échantillonneurs AKAI exigent le chargement de tout le volume ou de tousles programmes « élémentaires » nécessaires, pour pouvoir jouer toutesles couches de vélocité. Tous ces programmes sont automatiquement assignés au même canal MIDI et réagissent au même numéro de changement de programme MIDI. La fonction de conversion AKAI de l’EXS24 mkII vérifie intelligemment tous ces réglages et crée un instrument de l’échantillonneur EXS unique à partir de plusieurs programmes « élémentaires ». En général, cette option doit être activée lors de l’importation de ce type d’échantillons. • Il en va de même pour les disques de batterie dans lesquels des programmes élémentaires contiennent un instrument provenant d’une batterie complète : kick, snare, charleston, etc., comme des entités distinctes. Voussouhaiterez probablement fusionner ces programmes AKAI élémentaires dans un instrument de l’échantillonneur EXS unique, comme une batterie complète. 338 Chapitre 12 EXS24 mkII • Il existe toutefois un certain nombre de disques AKAI dans lesquels un seul volume AKAI issu d’un programme élémentaire contient tout l’instrument et les autres programmes du même volume possèdent le même canal MIDI et le même numéro de changement de programme MIDI préréglés. Pour ce type de disque, il n’est pas souhaitable d’utiliser le paramètre Fusionner les programmes. L’option doit donc être désactivée. • Créer des fichiers stéréos entrelacés lorsque c’est possible : il est conseillé de garder cette option toujours activée, car les fichiers entrelacés offrent de meilleures performances avec l’EXS24 mkII. Lors de la conversion d’échantillons au format AKAI, certains fichiers audio sont créés comme fichiers stéréo séparés et comme fichiers stéréo entrelacés. Ce sont les informations stockées avec le programme AKAI et les fichiers audio qui permettent de savoir s’il est possible ou non de créer un fichier entrelacé. Les fichiers correspondant aux canaux droit et gauche doivent disposer de réglages identiques, sinon ils ne peuvent pas être utilisés pour créer un fichier entrelacé. Gestion des instruments de l’échantillonneur EXS24 La liste desinstruments échantillonnéss’allonge au fur et à mesure que votre bibliothèque d’échantillons grossit. Pour que la liste desinstruments de l’échantillonneur reste gérable, l’EXS24 mkII offre une méthode de gestion des fichiers simple mais flexible. Pour classer hiérarchiquement vos instruments échantillonnés, procédez comme suit 1 Créez un dossier dans le Finder (Basses, par exemple) et faites-le glisser dans le dossier des instruments de l’échantillonneur de votre choix. 2 Faites glisser les instruments échantillonnés EXS24 mkII voulus dans le dossier qui vient d’être créé. La structure de menu modifiée est reproduite à l’ouverture du menu local desinstruments de l’échantillonneur. Chapitre 12 EXS24 mkII 339 Remarque : lorsque vous modifiez la hiérarchie des dossiers contenus dans le dossier Instruments de l’échantillonneur, vous devez sélectionner la commande Actualiser le menu, au-dessus du menu Instruments de l’échantillonneur. Le menu local Instruments de l’échantillonneur affiche dessous-menus uniquement pour les dossiers qui contiennent les fichiers instruments EXS. Les autres dossiers ne figurent pas dans le menu. Il est également possible d’ajouter dans ce menu les alias pointant vers des dossiers contenant des fichiers instruments EXS qui ne se trouvent pas dans les dossiers des instruments de l’échantillonneur. Même le dossier Instruments de l’échantillonneur peut être lui-même l’alias d’un dossier quise trouve sur un autre lecteur ou à un emplacement différent. Pour obtenir des informations sur la copie d’instruments de l’échantillonneur sur votre disque dur et la sauvegarde des instruments de l’échantillonneur utilisés dans un projet, consultez les rubriques Copie d’instruments de l’échantillonneur EXS24 sur votre disque dur et Sauvegarde des instruments de l’échantillonneur EXS24. Copie d’instruments de l’échantillonneur EXS24 sur votre disque dur Il est fortement conseillé de copier sur votre disque dur tous les instruments de l’échantillonneur EXS avec les fichiers audio qui leur sont associés. Vous bénéficiez ainsi d’un accès direct et immédiat à vos instruments échantillonnés, sans avoir à rechercher et insérer des CD-ROM ou des DVD. Cela vous permet également d’organiser vos instruments de l’échantillonneur pour répondre à vos besoins. En outre, les temps de chargement sont plus rapides et vous pouvez lire des échantillons dont la taille dépasse la RAM de votre ordinateur en les « diffusant » à partir de votre disque dur. Cette fonction ne convient pas aux lecteurs optiques. Pour copier des instruments de l’échantillonneur sur votre disque dur 1 Copiez le fichier de l’instrument échantillonné dansle dossier ~/Bibliothèque/Application Support/Logic/Sampler Instruments. 2 Copiez les échantillons associés dans un dossier Échantillons, dans le même répertoire que celui où se trouve le dossier des instruments de l’échantillonneur. Sauvegarde des instruments de l’échantillonneur EXS24 Vous pouvez utiliser le raccourci clavier « Sauvegarder les fichiers audio de tous les instruments utilisés et actifs de ce projet » pour copier les fichiers audio et les fichiers instruments de l’échantillonneur (de tous les instruments de l’échantillonneur actifs du projet) vers un emplacement de fichier spécifié. Les dossiers des fichiers audio associés à ces instruments échantillonnés sont créés dans l’emplacement cible. 340 Chapitre 12 EXS24 mkII Il est ainsi plus aisé de conserver tous vos instruments de l’échantillonneur et vos échantillons audio à un seul endroit, et vous êtes assuré que chaque dossier de projet contient tous les instruments de l’échantillonneur et les fichiers audio dont vous aurez besoin, même si vous n’avez pas accès à votre bibliothèque d’instruments de l’échantillonneur. Astuce : vous pouvez arriver au même résultat en configurant votre projet de telle sorte que les instruments échantillonnés et les échantillons de l’EXS24 soient copiés dans le dossier de projet. Pour en savoir plus, consultez le Manuel de l’utilisateur de Logic Pro. Réglage des Préférences Sampler de l’EXS24 mkII La fenêtre EXS24 mkII Sampler Preferences permet d’accéder aux préférences liées aux échantillons, telles que la qualité de conversion de la fréquence d’échantillonnage, la réponse de vélocité, la gestion des échantillons, les paramètres de recherche, etc. Pour ouvrir la fenêtre Sampler Preferences, effectuez l’une des opérations suivantes µ Dans la fenêtre des paramètres, ouvrez le menu local Options et choisissez Preferences. µ Dans l’Éditeur d’instruments, sélectionnez Edit > Preferences. • Menu local Sample Rate Conversion : détermine la qualité d’interpolation utilisée par l’EXS24 mkII. Sélectionnez Best pour maintenir la qualité sonore la plus élevée possible lors de la transposition. • Menu local Sample Storage : détermine la méthode de gestion des formats des échantillons utilisés par l’EXS24 mkII. • Original : télécharge des échantillons dansla RAM à leur profondeur de bits d’origine. Ceux-ci sont convertis au format 32 bits en virgule flottante de l’application hôte à la lecture. • 32 bits en virgule flottante : les échantillons sont stockés et chargés dans ce format. Il n’est alors plus nécessaire de réaliser de conversions en temps réel, ce qui permet à l’EXS24 mkII de gérer les données des échantillons de façon plus efficace et de lire un plus grand nombre de voix en simultané. Chapitre 12 EXS24 mkII 341 Remarque : les échantillons 16 bits requièrent deux fois plus de RAM et les échantillons 24 bits un tiers de plus. • Curseur Velocity Curve : détermine de quelle manière l’EXS24 mkII répond aux valeurs de vélocité entrantes. Les valeurs négatives accentuent la réponse aux frappes douces sur les touches, tandis que les valeurs positives la modèrent. • Menu local Search samples : détermine les emplacements sur lesquels l’EXS24 mkII recherche des échantillons d’instruments. Vous avez le choix entre : • Volumes Locaux : supports de stockage (disques durs et mécanismes optiques) reliés à l’ordinateur ou installés dessus. • Volumes externes : supports de stockage accessibles via un réseau. • Tousles volumes: supportsinternes et en réseau explorés pour rechercher les données appropriées. Remarque : si vous sélectionnez External Volumes ou All Volumes, le temps nécessaire à l’EXS24 mkII pour rechercher et charger les instruments de l’échantillonneur et les fichiers peut augmenter de façon spectaculaire. • Menu local Read root key from : définit la méthode utilisée par l’EXS24 mkII pour déterminer la note d’origine des fichiers audio chargés. Vous avez le choix entre les options suivantes : • Fichier/nom de fichier : lors du chargement d’un fichier audio dans une zone, l’EXS24 mkII consulte d’abord les informations relatives à la note d’origine contenues dans le fichier lui-même (dans l’en-tête du fichier AIFF ou WAVE). Si ce type d’information ne figure pas dans l’en-tête du fichier, une analyse intelligente du nom du fichier peut aider à retrouver la note fondamentale. Si cette seconde méthode ne donne aucun résultat utile, c’est la note Do3 qui est utilisée par défaut comme note fondamentale dans la zone. • Nom de fichier/fichier : comme ci-dessus, mais le nom de fichier est lu avant l’en-tête. • Nomde fichierseulement: recherche uniquement à partir du nom de fichier. Si aucune information n’est trouvée sur la note fondamentale, c’est la note Do3 qui est automatiquement assignée à la zone comme note fondamentale. • Fichier seulement : recherche uniquement à partir de l’en-tête du fichier. Si aucune information n’est trouvée sur la note fondamentale, c’est la note Do3 qui est automatiquement assignée à la zone comme note fondamentale. 342 Chapitre 12 EXS24 mkII • Menu local Root Key at File Name Position : normalement, l’EXS24 mkII détermine de façon intelligente la note fondamentale à partir de l’en-tête du fichier audio chargé. Il peut parfois arriver que vous souhaitiez contrôler ce paramètre manuellement, si vous pensez que la note d’origine n’est pas déterminée correctement. • Auto : effectue une analyse intelligente des chiffres et des notes éventuellement présents dans le nom du fichier. Un chiffre est reconnu dans un nom de fichier, quel que soitson format (« 60 » et « 060 » sont tousles deux valides, par exemple). D’autres nombres valides peuvent être compris entre 21 et 127. En général, les valeurs numériques en dehors de cette plage sont simplement des numéros de version. Un numéro de touche, C3, C 3, C_3, A-1, A-1 ou #C3, C#3 (Do3, Do 3, Do_3, La-1, La -1 ou #Do3, Do#3), par exemple, est également une valeur reconnue. Les valeurs possibles s’échelonnent de C-2 (Do-2) à G8 (Sol8). • Valeur numérique : dans certains cas, le concepteursonore a intégré plusieurs valeurs dans le nom du fichier : c’est souvent le cas pour les boucles, où une valeur indique le tempo (par exemple, « loop60-100.wav »). Il est alors impossible de savoir lequel de ces numéros indique une note d’origine, le cas échéant : 60 ou 100 pourraient indiquer le numéro du fichier dans une collection, un tempo, une note d’origine, etc. Vous pouvez définir la valeur « 8 » pour lire la note d’origine à la position (lettre/caractère) huit du nom du fichier (dans notre exemple, 100, soit Mi6). De même,si vous définissez la valeur 5, c’est la valeur 60 (soit Do3) qui est définie comme position de la note d’origine. • Instrument précédent et Instrument suivant : déterminez quel type d’événement MIDI et quelle valeur de données seront utilisés pour sélectionner l’instrument précédent ou suivant. Important : ces commandes sont uniques pour l’EXS24 mkII et sont distinctes des commandes globales « Réglage de module ou instrument EXS précédent/suivant ». Par conséquent, assurez-vous que vous n’assignez pas le même événement MIDI pour les deux commandes. Le cas échéant, les deux commandes s’exécutent, ce qui peut entraîner un comportement inattendu. • Sélectionnez un type d’événement MIDI dansles menuslocaux Instrument précédent et Instrument suivant. Vous avez le choix entre Note, Poly Pressure, Control Change, Program Change, Channel Pressure et Pitch Bend. Le champ en regard de chaque menu local vous permet d’entrer soit le numéro de note, soit la valeur du premier octet de données. Lorsque le paramètre Control Change est sélectionné, la valeur entrée dans le champ définit le numéro de contrôleur. • Case « Conversion Giga incluant le déclencheur de relâchement » : ce paramètre permet de déterminer si la fonction de déclencheur de relâchement du format Gigasampler est exécutée ou non par l’EXS24 mkII. Chapitre 12 EXS24 mkII 343 • Case « Ignorer la vélocité de relâchement » : se rapporte également à la fonction de déclencheur de relâchement du format Gigasampler et doit toujours être activée si vous utilisez ce dernier. Que votre clavier soit ou non capable d’envoyer des messages de vélocité de relâchement, vous pouvez alors faire en sorte que les échantillons joués par la fonction de déclencheur de relâchement soient plus forts ou moins forts que l’échantillon original, ou que les échantillons soient toujours lus au même niveau de volume sonore, quelle que soit la vélocité initiale. À l’inverse, lorsque vous jouez avec la fonction de déclencheur de relâchement, vous pouvez disposer d’une valeur de vélocité de relâchement identique à la valeur de vélocité initiale. Pour ce faire, vous pouvez désactiver la vélocité de relâchement. • Case « Garder en mémoire les échantillons les plus courants lors d’un passage d’un projet à l’autre »: détermine si les échantillons utilisés en commun (partagés) par deux fichiers de projets ouverts doivent être rechargés lorsque vous passez d’un projet à l’autre. Configuration de la mémoire virtuelle de l’EXS24 mkII De nos jours, les bibliothèques d’échantillons multigigaoctet sont très répandues, offrant des sons d’instruments d’un détail et d’une précision incroyables. Dans de nombreux cas, ces bibliothèques d’échantillons sont trop larges pour être intégrées dans la mémoire RAM de votre ordinateur. Afin d’utiliser ces gigantesquesinstruments de l’échantillonneur, l’EXS24 mkII peut utiliser une portion de votre disque dur comme mémoire virtuelle. Lorsque vous activez la mémoire virtuelle de l’EXS24 mkII,seulesles attaquesinitiales des échantillons audio sont chargées dans la RAM de votre ordinateur, le reste de l’échantillon est diffusé en continu en temps réel à partir du disque dur. Pour les systèmes disposant de 5 Go de RAM ou plus et exécutant la version 32 bits de l'application, lesfonctionnalitésrelatives à la mémoire virtuelle permettent au EXS24 mkII de s'adresser à sa propre mémoire. Les systèmes exécutant la version 64 bits de l'application adressent automatiquement toute la mémoire disponible. Consultez Gestion avancée de la RAM de l’EXS24 mkII. La fonction de mémoire virtuelle de l’EXS24 mkII peut être configurée dans la fenêtre Virtual Memory. 344 Chapitre 12 EXS24 mkII Pour ouvrir la fenêtre Virtual Memory, procédez comme suit µ Ouvrez le menu local Options dans la fenêtre des paramètres et sélectionnez Virtual Memory. • Case Activer : cochez cette case pour activer la fonction de mémoire virtuelle de l’EXS24 mkII. • Menu local External Memory Area : version 32 bits uniquement : Définit la manière dont la mémoire (de la mémoire externe à la RAM utilisée par l'application) est allouée. Consultez Gestion avancée de la RAM de l’EXS24 mkII. • Menu local Disk Drive Speed : spécifie la vitesse de votre disque dur. Si vous disposez d’un disque cadencé à au moins 7 200 TPM pour vos échantillons audio, sélectionnez le réglage Fast. Si vous utilisez un ordinateur portable cadencé à 5 400 TPM pour vos échantillons audio, sélectionnez Medium. Avec les Macintosh modernes, vous n’aurez généralement pas l’occasion d’utiliser le réglage Slow. • Menu local Hard Disk Recording Activity : spécifie l’utilisation générale du disque dur : c’est-à-dire la proportion d’enregistrement et de diffusion en continu de fichiers audio non échantillonnés. Par exemple, si vous enregistrez des batteries entières avec plus d’une douzaine de micros, en diffusant des guitares et des basses live en continu, en enregistrant des chœurs, etc., réglez le paramètre Activité d’enregistrement du disque sur Haute. Par contre, si vos projets sont principalement constitués d’instruments logiciels, avec éventuellement un ou deux instruments ou voix enregistré(e)s, réglez le paramètre Activité d’enregistrement du disque sur Basse. En cas de doute,sélectionnez Average. • Champ Requires Constant RAM Allocation of : indique la configuration de mémoire requise des paramètres ci-dessus. Plus votre disque dur est lent et plus votre activité d’enregistrement du disque est élevée, plus vous aurez besoin d’allouer de RAM à la mémoire virtuelle. Chapitre 12 EXS24 mkII 345 • Section Performance : indique le trafic d’E/S sur le disque et les données non lues à temps. Si ces valeurs augmentent, l’EXS24 mkII risque de rencontrer des problèmes pour diffuser vos échantillons à partir du disque. Si vous remarquez que ces valeurs atteignent des niveaux trop élevés, il est conseillé de modifier les réglages généraux afin de libérer de la RAM supplémentaire pour la mémoire virtuelle. Si des valeurs d’affichage des performances élevées continuent de s’afficher et que vous entendez desratés audio, il est conseillé d’installer de la RAM supplémentaire sur votre Macintosh. Gestion avancée de la RAM de l’EXS24 mkII Les applications 32 bits peuvent seulement prendre en charge 4 Go de RAM environ. L'EXS24 mkII peut prendre en charge son propre espace disque dans la version 32 bits de MainStage. Ceci permet au EXS24 mkII d'utiliser toute RAM disponible du système, à l'exception de la mémoire utilisée par l'application et le système d'exploitation. Une RAM de 5 Go au moins doit être installée sur votre ordinateur pour que vous puissiez profiter de cette fonctionnalité. La version 64 bits de MainStage n'a pas de limite de RAM et gère automatiquement toute la mémoire disponible du système. Cela permet d'utiliser une très large gamme d'instruments de l'échantillonneur. Pour définir des options avancées relatives à la mémoire pour l'EXS24 mkII en mode 32 bits. 1 Sélectionnez Options > Virtual Memory dans la fenêtre EXS24 mkII Parameter. 2 Dans la fenêtre Virtual Memory, cochez la case Active. 3 Dans le menu local External Memory Area, choisissez l'option requise. Remarque : le menu local External Memory Area de la fenêtre Virtual Memory apparaît en grisé dans la version 64 bits de MainStage lorsque l'application gère la mémoire RAM disponible. Si vous disposez d'assez de RAM physique pour tous les échantillons d'un projet, vous obtiendrez de meilleures performances en désactivant la case Activer. Dans les projets comprenant de nombreuses pistes audio et relativement peu d'instruments EXS24, décocher cette case peut avoir un effet remarquable sur les performances. Si la case Activer est désactivée est que vous ne disposez pas d'assez de RAM pour tous les échantillons, l'application permute des données de et versle disque, affectantsérieusement les performances. En désactivant cette case, vous augmentez aussi le temps de chargement du projet. Voilà pourquoi, dans la plupart des cas, il est préférable de la laisser cochée. Le volume de RAM que l’EXS24 mkII peut utiliser est déterminé par plusieurs facteurs, à savoir : • le volume de RAM physique installée sur votre ordinateur ; • le volume de RAM utilisé par les autres applications actives et par le système d'exploitation ; 346 Chapitre 12 EXS24 mkII • le volume de RAM utilisé par MainStage . Ces paramètres peuvent être affectés par le nombre et la taille desfichiers audio dansle projet, ainsi que le type de modules utilisés. Les modules d’échantillonneur ou de lecteur d'échantillons non conçus par Apple sont en particulier ceux qui peuvent considérablement affecter le volume de RAM utilisé par .MainStage Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII L’EXS24 mkII intègre une interface complémentaire pour le logiciel Vienna Symphonic Library Performance Tool. Pour y accéder, vous devez installer le logiciel Performance Tool de VSL. Pour plus de détails, consultez la documentation relative à VSL. Chapitre 12 EXS24 mkII 347 KlopfGeist est un instrument optimisé pour fournir le battement d’un métronome dans MainStage. Par défaut, KlopfGeist est inséré automatiquementsur la tranche de console d’instrument numéro 256 et utilisé pour générer le battement d’un métronome MIDI. KlopfGeist peut également être inséré dans n’importe quelle autre tranche de console d’instrument de MainStage pour être utilisé comme instrument. Le présent chapitre couvre les aspects suivants : • Utilisation des paramètres KlopfGeist (p 350) 349 KlopfGeist 13 Utilisation des paramètres KlopfGeist Un examen des paramètres KlopfGeist montre qu’il est un synthétiseur conçu pour créer des sons de battement de métronome. Potentiomètre Detune Curseur Level via Vel Curseur Damp Potentiomètre Tune Curseur Tonality Boutons Trigger Mode • Boutons Trigger Mode : cliquez sur Mono pour utiliser KlopfGeist comme instrument monophonique ou sur Poly pour l’utiliser comme instrument polyphonique (4 voix). • Potentiomètre et champ Tune : accordent KlopfGeist par étapes de demi-ton. • Potentiomètre et champ Detune : affine KlopfGeist en centièmes (1/100e de demi-ton). • Curseur et champ Tonality : modifient le son de KlopfGeist, qui passe d’un bref battement à un son de percussion ayant une tonalité, comme un bloc de bois ou des claves. • Curseur et champ Damp : contrôlent le temps de libération. Le temps de relâchement le plus court est atteint lorsque Damp a sa valeur maximale (1,00). • Curseur et champs Level Via Vel : déterminent la sensibilité de KlopfGeist en matière de vélocité. La moitié supérieure du curseur (qui compte deux parties) détermine le volume pour la vélocité maximale, la moitié inférieure pour la vélocité minimale. Faites glisser la souris dans la zone entre les deux segments du curseur pour déplacer les deux simultanément. 350 Chapitre 13 KlopfGeist Sculpture est un synthétiseur qui génère des sons en simulant les propriétés physiques d’une corde en vibration. Cette approche de la création de tonalité s'appelle modélisation de composants. Cette méthode permet de créer un modèle virtuel d’instrument acoustique, par exemple un violon ou un violoncelle. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface Sculpture (p 352) • Présentation du cœur de synthèse Sculpture (p 353) • Présentation du paramètre Sculpture String (p 356) • Utilisation des paramètres Sculpture String (p 357) • Utilisation des objets dans Sculpture (p 364) • Utilisation des capteurs dans Sculpture (p 371) • Utilisation des paramètres Global dans Sculpture (p 373) • Utilisation des paramètres Amplitude Envelope dans Sculpture (p 376) • Utilisation du Waveshaper dans Sculpture (p 377) • Utilisation des paramètres Filter dans Sculpture (p 378) • Utilisation du paramètre Integrated Delay dans Sculpture (p 380) • Utilisation de l’option Body EQ dans Sculpture (p 383) • Utilisation des paramètres Output dans Sculpture (p 387) • Contrôle des paramètres Surround Range et Diversity dans Sculpture (p 387) • Utilisation du paramètre Modulation dans Sculpture (p 388) • Présentation des enveloppes de contrôle dans Sculpture (p 400) • Présentation de la section Morph dans Sculpture (p 408) • Affectation de contrôleurs MIDI dans Sculpture (p 418) 351 Sculpture 14 • Guide d’initiation à Sculpture : premiers contacts avec la création de sons (p 419) • Guide d’initiation à Sculpture : création de sons de base (p 425) • Guide d’initiation à Sculpture : Modulations (p 437) • Guide d’initiation avancé à Sculpture : programmation de basses électriques (p 438) • Guide d’initiation avancé à Sculpture : programmation de sons synthétisés (p 458) Présentation de l’interface Sculpture Cette section présente les principaux éléments de l’interface Sculpture. Section Modulation Moteur de son Sources de contrôle globales L’interface utilisateur de Sculpture se divise en trois zones principales. • Moteur de son : la partie supérieure de l’interface Sculpture (deux tiers supérieurs) contient le moteur de son. Celui-ci est divisé en cinq sous-sections : • Paramètres String : la nappe circulaire Matériel, située au centre, permet de créer et de contrôler une corde, déterminant ainsi le timbre de base de votre son. • Paramètres Object : la section de couleur argent foncé située en haut à gauche contient les paramètres d’objet, utilisés pourstimuler ou altérer la corde de différentes manières. 352 Chapitre 14 Sculpture • Paramètres Processing : paramètres de capture du signal de corde et de contrôle avancé du son. Ils incluent les paramètres de filtre, Waveshaper, de capteur et d’enveloppe d’amplitude. • Paramètres globaux : affectent le comportement général de Sculpture. • Paramètres Post-Processing : ces paramètres affectent le comportement général et la tonalité globale de l’instrument dans son ensemble. Ils incluent les paramètres Delay, Body EQ et Level Limiter. • Section Modulation : la zone bleu/gris située en dessous du moteur de son contient les sources de modulation (oscillateurs sub-audio (LFO), générateurs de fluctuations et enveloppes enregistrables). • Sources de contrôle globales : la section située en bas de l’interface vous permet d’attribuer des contrôleurs MIDI aux paramètres Sculpture. Cette section comprend également la nappe Morphing, un contrôleur dédié aux paramètres pouvant faire l’objet d’un morphing. Présentation du cœur de synthèse Sculpture Cette section est destinée à vous donner un aperçu de la façon dont fonctionne Sculpture. Elle contient des informations et des concepts clés, que vous devez comprendre avant d’utiliser les fonctionnalités et paramètres du programme. Sculpture utilise une méthode de synthèse appelée modélisation de composantes. Cette méthode de génération sonore vous permet de créer un modèle virtuel d’instrument acoustique, par exemple un violon ou un violoncelle. Il est alors possible de modéliser diverses composantes, telles que la longueur du manche, le matériau dans lequel est fabriqué l’instrument (bois ou métal, par exemple), le diamètre, la tension et le matériau des cordes (nylon ou acier), ainsi que la taille du corps de l’instrument. Outre les propriétés physiques de l’instrument, vous pouvez déterminer comment et où il doit être joué (archet ou pizzicato, en haut d’une montagne ou sous la surface de l’océan). D’autres aspects, tels que le bruit des doigts et le vibrato, peuvent également être émulés. Vous pouvez même imiter le bruit d’une baguette tapant les cordes de l’instrument ou celui d’une pièce tombant sur le chevalet, si vous le souhaitez. Sculpture ne se limite pas à recréer des instruments existants. Vous pouvez également associer librement plusieurs composantes, afin d’obtenir des instruments hybrides étonnants, par exemple une guitare de deux mètres de long dont le corps serait une cloche en bronze et qui serait jouée à l’aide d’un marteau en feutre. Si voussouhaitez créer une texture en perpétuelle évolution, pour la bande son d’un film, ou encore le son parfait pour illustrer le décollage d’un vaisseau spatial, Sculpture est l’outil qu’il vous faut. Chapitre 14 Sculpture 353 Toutefois, vous pouvez aussi créer des sons de synthétiseur plus traditionnels avec Sculpture. Ces opérations bénéficieront du processus de modélisation, qui tend à enrichir les sons en leur donnant une qualité plus « organique ». Vous obtenez comme résultat final des sons de nappe chauds et riches, des basses de synthétiseur plus profondes et plus rondes et des sons dominants plus puissants. Comme un instrument réel, Sculpture génère des sons en utilisant un objet (doigt, vent, baguette ou archet) pour stimuler un autre objet (corde de guitare ou anche). Remarque : pour faciliter la compréhension, nous appellerons cet objet stimulé « corde » tout au long du présent document. Comme avec un instrument réel, le son se compose de multiples éléments. La corde n’est pas seule responsable de la couleur tonale du son, les objets qui stimulent la corde ou affectent la corde ou le son global de quelque manière que ce soit jouent également un rôle important. Par exemple, imaginez une guitare à cordes d’acier dont vous jouez alternativement en grattant les cordes avec le pouce ou en les pinçant fortement avec les doigts. Une guitare à cordes de nylon ou à 12 cordes offrirait un son très différent. Ensuite, imaginez que vous appuyez les cordes sur les frettes; vous obtenez non seulement un accord différent, mais vous courbez également les cordes, et donc déformez leur tonalité. Entre autres aspects à prendre en compte, n’oubliez pas la taille et le matériau du corps de la guitare et l’influence de ces éléments sur les caractéristiques de résonance de votre son. D’autres facteurs, tels que la taille ou le type d’ouverture (forme ronde ou en S), le bruit des doigts sur les cordes et la technique de jeu utilisée, ont également un rôle important dans le son global obtenu. Sculpture vous permet de modéliser virtuellement le comportement et la consistance physique de l’instrument, ainsi que le comportement de toutes les composantes impliquées, d’où le nom de synthèse par modélisation des composantes. Capteurs Amplitude enveloppe Wave Outil de mise en forme Filter Delay Body EQ Level Limiter Objets Corde Ce schéma illustre le cheminement dessignaux du cœur du moteur de synthèse. Consultez les différentes options disponibles pour chaque paramètre présenté, afin de vous familiariser avec l’emplacement et l’utilisation des différentes fonctionnalités. 354 Chapitre 14 Sculpture Après stimulation de la corde par le biais de divers objets, la vibration de la corde est capturée par deux capteurs mobiles, semblables en concept et en fonctionnement aux capteurs électromagnétiques utiliséssur les guitares, les pianos et les clavinets électriques. Les capteurs envoient le signal à la section d’amplitude équipée d’ADSR, un Waveshaper doté de types sélectionnables et un filtre multimode. Ceux-ci permettent de « sculpter » votre son. Remarque : tous les éléments décrits ci-dessus existent sur la base de la voix. La somme de touslessignaux de voix peut alors être traitée par un effet de retard intégré. De là, le signal est envoyé vers un module interne de type égaliseur (Ég corps), qui simule globalement la réponse spectrale forme/corps de votre instrument. Le signal obtenu est alors transmis vers une section Level Limiter. De nombreuses sources de modulation sont aussi disponibles : des LFO avec tempo synchronisé aux générateurs de fluctuations et aux enveloppes enregistrables. Celles-ci peuvent contrôler les propriétés de corde et d’objet, le filtre, ainsi que d’autres paramètres. Vous pouvez même moduler d’autres sources de modulation, si vous le souhaitez. Une fonction de morphing enregistrable permet également des transitions douces ou brutales entre un maximum de cinq points de morphing. Un point de morphing est un ensemble de réglages de paramètre existants à un moment donné. Avant de commencer la présentation des paramètres Sculpture, il est important de noter que l’interaction entre les différentes sections du moteur de synthèse par modélisation de composantes est plus dynamique et plus fortement entrelacée qu’avec les autres méthodes de synthèse. Ceci peut amener à la génération de sons uniques, mais également entraîner des changements radicaux et parfois inattendus dès qu’un paramètre est légèrement modifié. De ce fait, une approche plus mesurée est recommandée dans l’utilisation de Sculpture, par rapport à un synthétiseur traditionnel, lorsque vous souhaitez obtenir un résultat spécifique. Conservez l’organigramme à portée de main tout en vous familiarisant avec l’interface et la programmation. Si vous adoptez une approche méthodique et que vous suivez l’organigramme, vous ne devriez pas être trop souvent confronté à des résultats inattendus. Sculpture est un synthétiseur « à performances », qui tire parti de l’utilisation des contrôleurs, des modulations et des différentes techniques de jeu. Prenez le temps de vousfamiliariser avec les possibilités offertes par les différents paramètres et commandes disponibles, aussi bien pour écouter lessonsintégrés au logiciel que pour créer les vôtres. Chapitre 14 Sculpture 355 Plusieurs sections de tutoriel sont à votre disposition, pour vous apprendre comment créer dessons dans Sculpture. Consultez Guide d’initiation à Sculpture : premiers contacts avec la création de sons. Cette section contient des informations qui vous aideront lors de vos premiers pas vers la création de sons dans Sculpture. La création de types de son spécifiques, parmi lessons de base de l’instrument, est évoquée dans plusieursrubriques. Consultez Guide d’initiation à Sculpture : création de sons de base. Pour en savoir plus sur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Sculpture propose une large gamme d’options de modulation. Pour en savoir plussur cesfonctions, consultez Guide d’initiation à Sculpture : Modulations. Sculpture est un outil exigeant un important investissement en temps de votre part, mais vous serez récompensé par de belles sonorités organiques et chaudes, des ambiances sonores évolutives ou des sonorités rugueuses et métalliques de type « Hell’s Bells », si le cœur vous en dit. n’hésitez pas à vous lancer dans des expérimentations, car c’est dans cet esprit que Sculpture a été créé. Présentation du paramètre Sculpture String La corde est l’élément responsable de la tonalité de base de votre son. Vous pouvez en définir le matériau de fabrication et le comportement suivant la technique utilisée (corde pincée, frappée, jeu à l’archet, etc.). La corde elle-même ne produit pas de son, sauf si elle est stimulée (excitée ou perturbée) par au moins un objet. Vous pouvez utiliser jusqu’à trois objets de type différent pour exciter, perturber ou assourdir la corde (faire vibrer la corde ou altérer son mouvement). Consultez Utilisation des objets dans Sculpture. La corde et les objets (excitation/perturbation) de Sculpture jouent un rôle similaire à celui des oscillateurs des synthétiseurs traditionnels. Toutefois, la corde est un concept beaucoup plus sophistiqué que les simples oscillateurs. Pour simplifier, vous créez une forme d’onde, ou timbre de base, en décrivant de manière mathématique les propriétés de la corde et de son environnement. Celles-ci incluent, entre autres, le matériau dans lequel la corde est fabriquée, son épaisseur, sa longueur etsa tension,ses caractéristiques dansla durée, l’atmosphère danslaquelle elle est utilisée (eau, air, etc.) et la façon dont elle est jouée (frappée, frottée, avec un archet, etc.). Sculpture va bien au-delà de la simple création d’un nombre infini de timbres de base, cependant. L’une des différences essentielles entre la corde utilisée dans Sculpture et la forme d’onde d’un synthétiseur traditionnel est que le timbre de base généré par la corde demeure dans un état de flux constant. 356 Chapitre 14 Sculpture Autrement dit, si la corde de Sculpture continue de vibrer pour une note spécifique, le redéclenchement de cette même note donnera lieu à une interaction avec la vibration en cours. Cela se rapproche de l’effet obtenu en pinçant de façon répétée une corde de guitare, la corde continuant de vibrer lorsque la note suivante est jouée. Cette opération altère à chaque fois le spectre harmonique, ce qui explique pourquoi les guitares acoustiques produisent un son organique lorsqu’une note est jouée de façon répétée, contrairement aux guitares échantillonnées. Comme vous pouvez le constater, cela diffère nettement des autres méthodes de synthèse, avec lesquelles la forme d’onde du timbre de base, même lorsqu’il est modulé, n’interagit pas de façon harmonique avec les notes encore audibles redéclenchées. Dans les synthétiseurs traditionnels, la forme d’onde est généralement redémarrée, à partir du milieu du cycle ou depuis le début, ce qui entraîne une hausse du volume ou un léger déplacement cyclique de l’onde. Utilisation des paramètres Sculpture String Les paramètres de corde décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme «morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations, consultez Présentation de la section Morph dans Sculpture. Curseurs Media Loss Boutons des vues Hide, Keyscale et Release Curseurs Tension Mod(ulation) Nappe Material Curseurs Resolution • BoutonsHide, Keyscale, Release View: utilisés pour basculer entre les différents affichages. Chaque bouton permet d’accéder à des paramètres différents, ou de les masquer. • NappeMatériel : détermine la tonalité de base de la corde, en définissantses propriétés de rigidité et de souplesse (atténuation). Chapitre 14 Sculpture 357 • Curseurs de paramètre String : les curseurs situés sur l’anneau extérieur de la nappe Matériel permettent de configurer en détail les propriétés et le comportement de la corde. • Curseurs Resolution : déterminent le nombre maximal d’harmoniques contenues dans le son (et la résolution spatiale de ce dernier) en C3 (Do3) (C (Do) central). • Curseurs Media Loss : Émule le niveau d’atténuation de la corde provoquée par son environnement (air, eau, etc.) en C3 (Do3) (C (Do) central). • Curseurs Tension Mod(ulation) : définit le désaccord de son temporaire en C3 (Do3) (C (Do) central). Utilisation des boutons de vue Hide, Keyscale et Release dans Sculpture Ces boutons permettent d’activer et de masquer les paramètres Keyscale et Release. Il vous suffit de cliquer sur le bouton Keyscale, Release ou Hide, selon les réglages que vous souhaitez effectuer. Les paramètres correspondants deviennent alors visibles dansl’anneau entourant la nappe Material. Cliquez sur ces boutons pour activer ou masquer les paramètres Keyscale ou Release. Vue Keyscale Vue Release Vue Hide • Bouton Keyscale : lorsque l’option Keyscale est activée, vous pouvez configurer des paramètres pour les notes en dessous de C3 (Do3) ou au-dessus. En d’autres termes, l’impact de ces paramètres peut être contrôlé sur l’étendue du clavier. Par exemple, un paramètre tel que la rigidité de la corde peut être plus intense dans les aigus et plus faible dans les graves. En pratique, cela se traduit par des notes plus harmoniques (douces) dans les graves et des sons dominants au spectre moins harmonique, plus dissonant, dans les aigus (notes au-dessus de C3 (Do3)). • Bouton Release : lorsque l’option Release est activée, vous pouvez configurer les paramètres Release pour la corde, ceux-ci affectant les vibrations de la corde une fois la touche relâchée. 358 Chapitre 14 Sculpture • Bouton Hide : permet de masquer plusieurs paramètres, ce qui simplifie l’interface et évite toute modification accidentelle des paramètres Keyscale et Release. Utilisation des paramètres de base de la nappe Material dans Sculpture La nappe Material joue le rôle de matrice pour les valeurs Stiffness (axe X) et Inner Loss (axe Y). Axe Inner Loss Axe Stiffness Boule de la nappe Material Le paramètre Inner Loss est utilisé pour émuler l’atténuation de la corde provoqué par son matériau : acier, verre, nylon ou bois. Les pertes varient en fonction de la fréquence, ce qui se traduit par un son devenant plus doux au fil de la phase de chute du niveau. Le paramètre Stiffness contrôle la rigidité de la corde. En réalité, cet aspect est déterminé par le matériau de la corde et son diamètre ou, pour être plus précis, par son moment d’inertie géométrique. Si voussélectionnez la valeur maximale pour le paramètre Stiffness, la corde devient une barre de métal solide. Les cordes rigides sont également le siège de vibrations non harmoniques ; autrement dit, les sons dominants ne sont pas nécessairement des multiples de la fréquence fondamentale. Au lieu de cela, elles ont des fréquences élevées, qui peuvent faire paraître fausses les notes aiguës et graves, les unes par rapport aux autres. Les quatre coins de la nappe Material indiquent le nom de différents équipements matériels. Chacun d’eux représente une combinaison des valeurs maximum/minimum des paramètres Stiffness et Inner Loss. La combinaison des positions des paramètresInner Loss et Stiffness détermine le matériau de la corde et, par conséquent, le timbre global de votre son. Voici quelques exemples, indiquant comment modifier la couleur tonale du son à l’aide des paramètres Inner Loss et Stiffness : • La combinaison de valeurs faibles pour Stiffness et de valeurs faibles pour Inner Loss génère des sons métalliques. Chapitre 14 Sculpture 359 • La combinaison de valeurs élevées pour Stiffness et de valeurs faibles pour Inner Loss génère une certaine résonance (cloche, son cristallin). • La combinaison de valeurs faibles pour Stiffness et de valeurs élevées pour Inner Loss correspond à des cordes en nylon ou catgut. • La combinaison de valeurs élevées pour Stiffness et de valeurs élevées pour Inner Loss correspond à des matériaux de type bois. Pour modifier les deux paramètres simultanément, faites glisser la boule marquant le point de réglage spécifique sur la nappe Material, sur les plans X et Y. Remarque : l’épaisseur de la corde (ligne horizontale verte dansla fenêtre Pickup) change lorsque vous déplacez cette boule (consultez Utilisation des curseurs du paramètre String dans Sculpture (morphing possible)). Utilisation de la nappe Material dans les affichages Keyscale et Release de Sculpture Dans les affichages Keyscale et Release, la nappe Material contient des commandes supplémentaires, destinées au réglage des paramètres Keyscale et Release. Contrôle losange Contrôle réticulaire Contrôle linéaire Contrôle losange Vue Keyscale Vue Release • Commandes Diamond : faites glisser la commande horizontalement pour régler les paramètres Stiffness Keyscale et verticalement pour les paramètres Innerloss Keyscale et Release. • Dans la vue Keyscale, les losanges matérialisent l’intersection entre les positions de suivi Inner Loss et Stiffness Low/High. Vous pouvez faire glisser directement ces losanges pour régler simultanément les deux paramètres. • Dans la vue Release, vous pouvez déplacer le losange verticalement uniquement, car vous ne pouvez pas modifier le comportement de relâchement pour le paramètre Stiffness. 360 Chapitre 14 Sculpture • Commandes de ligne et Crosshair : permettent de contrôler les paramètres Keyscale et Release lorsque leslosangessont masqués par la boule. L’option Crosshair vous permet également de modifier indépendamment le suivi clavier pour l’un des deux axes (positions X/Y, qui contrôlent les valeurs courantes Inner Loss et Stiffness). Remarque : cliquez sur l’une de ces commandes tout en appuyant sur la touche Option pour réinitialiser la valeur par défaut des paramètres associés. Définition des valeurs Inner Loss Keyscale dans Sculpture Les paramètres Inner Loss Keyscale vous permettent de contrôler le degré d’atténuation de manière indépendante, pour les notes au-dessus et en dessous de C (Do), en modifiant le degré d’atténuation appliqué lorsque vous jouez plus bas ou plus haut sur le clavier. Pour régler la valeur de suivi Inner Loss 1 Activez le bouton Keyscale. 2 Faites glisser la ligne horizontale verte pour les notes graves(ou la ligne horizontale bleue pour les notes aiguës) jusqu’à la position souhaitée. Vous pouvez définir les pertes internes (Inner Loss) de manière à ce qu’elles augmentent lorsque la touche est relâchée, en sélectionnant une valeur supérieure ou égale à 1. Ceci entraîne toutefois un effet inhabituel, car le son obtenu équivaut à changer le matériau de la corde après relâchement de la note. Les losanges matérialisent l’intersection entre les positions de suivi Inner Loss et Stiffness Low/High. Vous pouvez faire glisser ces losanges pour régler simultanément les deux paramètres. Définition des valeurs Stiffness Keyscale dans Sculpture Les paramètres Stiffness Keyscale vous permettent de régler la rigidité de la corde de manière indépendante, pour les notes au-dessus et en dessous du C (Do) central, en modifiant le degré de contenu non harmonique appliqué lorsque vous jouez plus bas ou plus haut sur le clavier. Pour régler la valeur de suivi Stiffness 1 Activez le bouton Keyscale. 2 Faites glisser la ligne verticale verte pour les notes graves (ou la ligne verticale bleue pour les notes aiguës) jusqu’à la position souhaitée, sur le plan horizontal. Astuce : vous pouvez agir simultanément sur le suivi clavier des paramètres Stiffness et Inner Loss en faisant glisser le losange matérialisant l’intersection entre les lignes vertes. Définition du comportement de relâchement du paramètre Inner Loss dans Sculpture Dans la vue Release, vous pouvez définir comment le degré d’atténuation appliqué à la corde change lorsque vous relâchez la touche. Chapitre 14 Sculpture 361 Pour régler la valeur de relâchement Inner Loss 1 Activez le bouton Release. 2 Faites glisser la ligne bleue Release verticalement, jusqu’à la position souhaitée. Remarque : une utilisation plus classique de ce paramètre, c’est-à-dire conjointement avec le paramètre Media Loss Scale Release (consultez Utilisation des curseurs du paramètre String dans Sculpture (morphing possible)), permet d’obtenir une simulation naturelle des cordes amorties lorsque la note est relâchée. Utilisation des curseurs du paramètre String dans Sculpture (morphing possible) Les curseurs situés sur l’anneau extérieur de la nappe Matériel permettent de configurer en détail les propriétés et le comportement de la corde. Nappe Material en vue Keyscale Curseur Resolution Curseur de mise à l’échelle basse Resolution Curseur de mise à l’échelle élevée Resolution • Curseurs Resolution : déterminent le nombre maximal d’harmoniques contenues dans le son (et la résolution spatiale de ce dernier) en C3 (Do3). La modification de la valeur du paramètre Resolution change l’interaction de la corde avec les objets, Ceci a également un effet sur la fréquence des sons dominants ; des valeurs très faibles pour le paramètre Resolution créent un spectre non harmonique, même avec le paramètre Stiffness défini sur 0. Dans la vue Keyscale, les curseurs Resolution High et Low Scaling s’affichent : • Curseur Resolution High Scaling (bleu) : définit la résolution (précision) du suivi clavier pour les notes au-dessus du C (Do) central (C3(Do3)). • Curseur Resolution Low Scaling (vert) : définit la résolution du suivi clavier pour les notes en dessous du C (Do) central. Remarque : des valeurs de résolution élevées améliorent la précision des calculs, ce qui augmente de manière significative le volume de traitement informatique. 362 Chapitre 14 Sculpture • Curseurs Media Loss : permet de contrôler le degré d’atténuation de la corde provoqué par son environnement (atmosphère) : air, eau, huile d’olive, etc. Ces pertes sont indépendantes de la fréquence. Ceci permet de contrôler la durée de la chute exponentielle de l’amplitude, une fois l’excitation de la corde terminée. • Dans la vue Keyscale, les curseurs Media Loss Low et High Scaling sont utilisés pour définir la résolution (précision) du suivi clavier, de manière indépendante pour les notes au-dessus et en dessous du C (Do) central (C3 (Do3)). • Dans la vue Release, le curseur Media Loss Release détermine le comportement en termes de perte média, lorsque la touche est relâchée. • Curseurs Tension Mod : permettent de contrôler le désaccord momentané de la corde. Les cordes d’un instrument, par exemple d’une guitare, présentent un comportement particulièrement non linéaire ; si l’excursion de la corde est trop importante, celle-ci se désaccorde vers le haut. Ce désaccord étant provoqué par une excursion momentanée de la corde, et non par une excursion moyenne, le désaccord se produit trèsrapidement. Techniquement, ce phénomène est connu sous le nom de « non-linéarité de la modulation de tension ». D’un point de vue non technique, définir ou moduler le curseur Tension Mod au-delà de 0 imite cet effet de désaccord momentané dans Sculpture. Remarque : cet effet non linéaire peut aboutir à des résultats surprenants, voire rendre tout le modèle instable, surtout si vous le combinez avec des valeurs faibles au niveau des paramètres Media Loss et Inner Loss. Par conséquent, si vous vous apercevez que votre son « pique » ou « tombe » lors de la phase de chute, essayez de réduire la valeur du paramètre Tension Mod et peut-être de Resolution. Pour régler la valeur de suivi Resolution 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur inférieur vert, à l’intérieur de la partie supérieure de l’anneau de la nappe Material, pour les notes graves(ou le curseursupérieur bleu de l’anneau extérieur pour les notes aiguës). Pour régler la valeur de suivi Media Loss 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur vert, à l’intérieur du côté gauche de l’anneau de la nappe Material. Pour régler le temps de relâchement Media Loss 1 Activez le bouton Release. 2 Faites glisser jusqu’à la position souhaitée le curseur bleu, dans l’anneau extérieur situé du côté gauche de la nappe Material. Chapitre 14 Sculpture 363 Pour des valeurs supérieures à 1,0, les pertes dans le matériau augmentent lorsque vous relâchez la touche. Ce paramètre permet, par exemple, de simuler l’immersion d’une corde dans un seau d’eau après sa mise en vibration dans l’air. Évidemment, un violoniste ou un pianiste « normal » ne se livre pas habituellement à ce genre d’expérience, mais cela peut servir à créer des variations sonores intéressantes. Pour régler la valeur de suivi Tension Mod 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur inférieur vert, à l’intérieur du côté droit de l’anneau de la nappe Material, pour les notes graves (ou le curseur supérieur bleu à droite de l’anneau extérieur pour les notes aiguës). Astuce : si vous trouvez que votre instrument est désaccordé, un peu trop haut ou trop bas, lorsque vous jouez de bas en haut du clavier, essayez de modifier les valeurs de suivi clavier du paramètre Tension Mod, voire du paramètre Media Loss. Utilisation des objets dans Sculpture Les objets sont utilisés pour stimuler ou altérer la corde de différentes manières. Les paramètres d’objet décrits dans cette section s’appliquent voix par voix. Vousremarquerez qu’un certain nombre de noms de paramètres sont suivis du terme « morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations, consultez Présentation de la section Morph dans Sculpture. Important : au moins un objet doit être utilisé pour exciter ou perturber la corde, car la corde seule ne produit pas de son. Il existe divers modèles pour exciter/perturber/assourdir la corde : souffle, pincement, archet, etc. Ceux-ci influencent radicalement le timbre général lors de la phase d’attaque ; vous pouvez ainsi obtenir des sons de flûte pizzicato ou de cloche joués à l’archet ou pincés, ou encore de guitares avec une attaque soufflée. En utilisant judicieusement les paramètres des objets, vous pouvez obtenir desimitations très précises d’instruments réels ou des sons venus carrément d’un autre monde. Il est important de noter que chaque objet supplémentaire utilisé pour perturber ou assourdir la corde exerce une influence sur celle-ci. En outre, cela modifie l’interaction avec tout autre objet actif pour la corde, ce qui entraîne souvent un vrai changement de caractère sonore. 364 Chapitre 14 Sculpture Bien entendu, changer de caractère sonore est souvent la principale raison pour utiliser un nouvel objet ; toutefois, selon les autres réglages de corde déjà effectués, la combinaison « pincement + souffle » que vous avez sélectionnée peut fort bien sonner comme des ongles grinçant sur un tableau noir au lieu du son de flûte de Pan pizzicato que vous recherchiez au départ. Il est donc primordial d’accorder une attention toute particulière aux paramètres Type et Strength du modèle des objets. Par exemple, vous vous apercevrez peut-être que le caractère de l’objet excitateur (objet 1) a changé de façon significative et qu’il vousfaudra alors modifier les paramètres de tous les objets(et même plusieurs valeurs des paramètres de corde) après avoir introduit un nouvel objet de perturbation ou d’atténuation (2 ou 3). De même,sélectionner un type d’objet d’excitation différent aura un impactsur les objets de perturbation ou d’atténuation (etsur la corde elle-même), ce qui modifiera le caractère de votre son. Modifier la position des objets change également le timbre de la corde. Par exemple, si vousimitez une guitare, le fait de changer la position d’un objet revient en réalité à pincer ou à jouer à l’archet une corde à différents endroits, dans le sens de la longueur. Utilisation des paramètres d’objet dans Sculpture Les paramètres suivants servent à exciter, perturber ou amortir les vibrations de la corde. Bouton On/Off Curseur Timbre Potentiomètre Strength Boutons du mode Gate Curseur Velo Sens (sensibilité à la vélocité) Curseur Variation Cliquez ici pour accéder au menu Type. • Boutons On/Off (1, 2 et 3) : active/désactive l’objet concerné. • Menu Type : détermine le type de chaque objet. Consultez Tableau destypes d’excitation disponibles dans Sculpture (objets 1 et 2) et Tableau des types de perturbation et d’atténuation (objets 2 et 3). Chapitre 14 Sculpture 365 • Boutons Gate Mode : détermine quand l’objet est actif, autrement dit quand il perturbe ou excite la corde. Vous avez le choix entre les options suivantes : • KeyOn : entre l’activation et la désactivation de la note. • Always : entre l’activation de la note et la fin de la phase de relâchement. • KeyOff : déclenché à la désactivation de la note et demeurant actif jusqu’au relâchement de la voix. Remarque : certainstypes d’objet, tels que Gravity Strike, peuvent redéclencher la note lorsque vous relâchez une touche (mode gate Key On). Si vous rencontrez cet artefact, essayez de définir le paramètre Gate Mode sur Always et/ou de réduire la valeur Strength pour l’objet. • Potentiomètre Strength (morphing possible) : permet de définir l’intensité de l’excitation/la perturbation, suivant le type choisi. Reportez-vous au tableau ci-dessous. Une valeur de 0 désactive complètement l’excitation/la perturbation. Contrairement à ce qui se passe avec le bouton On/Off de chaque objet, vous pouvez effectuer un fondu avec le paramètre Strength par le biais des options de modulation et/ou de morphing. • Curseur Timbre (morphing possible) : permet de définir le timbre (couleur tonale) du type d’excitation/de perturbation choisi. La valeur par défaut de cet objet est 0 (zéro). Avec des valeurs positives, le son devient plus brillant ; avec des valeurs négatives, vous obtenez un son plus doux. • Curseur Variation (morphing possible) : autre paramètre de réglage du timbre, qui dépend également du type choisi. Reportez-vous au tableau ci-dessous pour plus de détails sur son influence sur le son. • Curseur VeloSens(objets 1 et 2 uniquement) : les objets d’excitation/de perturbation sont sensibles à la vélocité, mais ce comportement ne convient pas à tous les sons. Ce paramètre,situé au niveau inférieur des objets 1 et 2, permet de réduire à 0 la sensibilité à la vélocité. Remarque : un objet n’est sensible à la vélocité que si vous avez sélectionné un type qui excite la corde de façon active. Le curseur Velocity est disponible uniquement pour les objets sensibles à la vélocité. • L’objet 1 est sensible à la vélocité. • L’objet 2 peut être ou non sensible à la vélocité, suivant le type d’objet choisi. • L’objet 3 n’est pas sensible à la vélocité. Tableau des types d’excitation disponibles dans Sculpture (objets 1 et 2) Avant de consulter le tableau des propriétés et destypes d’objet, il est important de noter ce qui suit : • L’objet 1 ne peut utiliser que les types d’excitation se trouvant dans le premier tableau. 366 Chapitre 14 Sculpture • L’objet 2 peut utiliser tous les types d’excitation figurant dans les deux tableaux. • L’objet 3 ne peut utiliser que lestypes de perturbation/amortissementse trouvant dans le second tableau. Le tableau suivant dresse la liste de touslestypes d’excitation disponibles pour les objets 1 et 2 ; il contient également des informations sur les commandes disponibles pour chacun d’eux. Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... Sensibilité à la vélocité de la largeur l’amplitude de la largeur l’impulsion Impulse Impulsion courte la rigidité du feutre la masse du marteau la vitesse de départ du marteau (selon la vélocité) Excitation courte, type marteau de piano ou mailloche Strike la rigidité du la gravitation feutre la vitesse de départ du marteau Comme le marteau, mais en tenant compte de la gravitation côté corde, ce qui suscite de multiples interactions marteau/corde et perturbe les vibrations de la corde GravStrike la rigidité du médiator le rapport force/vitesse la force et la vitesse du pincement Pincement (doigt ou médiator) Pick les caractéristiques du glissement la pression de l’archet la vitesse de l’archet Bow Jeu à l’archet les caractéristiques du glissement la pression de l’archet la vitesse de l’archet Même chose que pour Bow, mais avec un archet plus large, ce qui donne une tonalité plus douce qui convient bien aux changements progressifs de position d’archet Bow Wide Chapitre 14 Sculpture 367 Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... la résonance du bruit la bande passante/fréquence de coupure du bruit Bruit injecté dans le niveau de bruit la corde Noise le retrait de la la pression de l’air le bruit de souffle lèvre Souffle dans une extrémité de la corde (colonne d’air ou tube). À différentes positions, en commençant par 0 (extrême gauche), déplacez la position et le sens du souffle, depuis le long de la corde jusqu’à une extrémité. La corde reçoit le souffle sur le côté, à la position choisie. Blow Largeur (taille) de la partie de la corde affectée par le signal latéral la fréquence de coupure du filtre passe-bas utilisé pour le traitement du signal latéral Envoie un signal Level latéral dans la corde. Externe (disponible uniquement pour l’objet 2) Tableau des types de perturbation et d’atténuation (objets 2 et 3) Le tableau suivant répertorie touslestypes de perturbation et d’amortissement disponibles pour les objets 2 et 3. 368 Chapitre 14 Sculpture Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... la largeur des contrôles. • Valeurs négatives:seule une petite partie de la corde est affectée. • Valeurs positives : une partie plus longue de la corde est affectée. la distance par rapport à la position de repos. • Valeurs négatives : écarte la corde de sa position de repos. • Valeurs positives : la corde n’est pas affectée lorsqu’elle est en position de repos. la dureté de l’objet Objet d’entrave placé à distance fixe de la position de repos de la corde. Disturb le débattement de Aucun effet l’anneau (la distance séparant l’anneau de la corde) • Valeurs négatives : les bordsintérieurs de l’anneau d’atténuation se touchent, ce qui a une incidence sur la corde au moindre mouvement. • Valeurs positives : l’intérieur de l’anneau présente un certain débattement. La corde n’est influencée que si elle bouge suffisamment pour toucher l’anneau. la dureté de l’anneau Ce paramètre s’apparente à un anneau placé autour de la corde, limitant ses vibrations dans toutes les directions. Disturb 2-Sided Chapitre 14 Sculpture 369 Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... l’amortissement de l’objet la rigidité de l’objet Contrôle la constante de gravité pour l’objet reposant ou rebondissant sur la corde. Simule un objet « volant » reposant ou rebondissant sur la corde vibrante et interagissant avec elle. Ce comportement est très aléatoire par nature et ne peut être synchronisé. Bouncing l’amplitude de la réflexion au niveau deslimites. la pente (raideur) de la limite. Une valeur de 0,0 place la limite parallèlement à la corde. Pour les autres valeurs, la limite est placée plus près de la corde d’un côté et plus loin de l’autre. la distance séparant la position centrale de la position de repos de la corde. Limite arrêtant et réfléchissant le mouvement de la corde. S’apparente à une frette, qui limite le mouvement de la corde lorsque vous la pincez. Bound la valeur (taille) de Aucun effet Aucun effet la masse ou du poids Sert à modéliser une masse supplémentaire attachée à la corde. Vous pouvez ainsi obtenir des sons non harmoniques et des résultats très intéressants en modulant la position de cette masse le long de la corde. Mass la largeur de la section amortie de la corde les caractéristiques de l’amortissement l’intensité de l’amortissement Amortisseur localisé, utile pour un amortissement doux. Damp 370 Chapitre 14 Sculpture Utilisation des capteurs dans Sculpture Les paramètres de capteur décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme «morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour en savoir plus, voir Présentation de la section Morph dans Sculpture. Les capteurs sont les premiers éléments situés après le système de génération sonore de Sculpture (composé de la corde et des objets) ; ils servent d’entrée pour la chaîne de traitement du signal virtuel. Considérez ces capteurs comme l’équivalent des capteurs électromagnétiques d’une guitare électrique ou d’un clavinet. Bien évidemment, toute modification de leur position change la tonalité de la guitare ; le même principe est respecté dans Sculpture. Curseur de position du capteur A Bouton Invert Curseur de position de l’objet Curseur de position de l’objet Curseur de position de l’objet • Curseurs de position Object (morphing possible) : les curseurs 1, 2 et 3 déterminent la position respective de chaque objet (excitation/perturbation/atténuation) le long de la corde. Consultez Modification de la position d’un objet dans l’écran Display de Sculpture. • Curseur de position Pickup A (morphing possible) : détermine la position du capteur Pickup A le long de la corde. Les valeurs 0 et 1 correspondent aux deux extrémités de la corde, respectivement la gauche et la droite. • Curseur de position Pickup B (morphing possible) : détermine la position du capteur Pickup B le long de la corde, indiquée en dessous du curseur de position 3 (Object) en bas de l’image. • Bouton Invert (Pickup B Phase) : inverse la phase du capteur Pickup B. Bouton situé en bas à gauche de l’écran Pickup. Les options possibles sont normal ou invert(ed). Remarque : si la phase du capteur Pickup B est définie sur Inverted, le son devient plus grêle, car certaines portions dessignaux issus des capteurs PickupA et Pickup B s’annulent. Toutefois, en fonction de la position des capteurs, l’inverse peut se produire et vous obtenez alors un son particulièrement riche et profond. Chapitre 14 Sculpture 371 Pour régler la position du capteur Pickup A ou Pickup B µ Faites glisser le curseur correspondant, en haut ou en bas de l’écran Pickup. Les plages des capteurs Pickup A et B s’affichent sous la forme de courbes transparentes en cloche, qui représentent la position et la largeur des capteurs. La ligne horizontale verte située à l’intérieur de la fenêtre Pickup représente la corde. Plus vous augmentez la valeur du paramètre Stiffness de la corde, plus la ligne s’épaissit. La ligne peut être animée et affiche alors la plage de mouvement de la corde. Pour afficher une animation de corde µ Cliquez sur la ligne horizontale verte (corde) tout en appuyant sur la touche ctrl pour activer ou désactiver l’animation. Lorsque l’animation est activée, la corde vibre, ce qui permet de visualiser plusfacilement l’impact des objets et des capteurs. Notez que cette animation de la corde mobilise les ressources du processeur ; n’hésitez donc pas à la désactiver si votre ordinateur a du mal à traiter toutes les données en temps réel. Modification de la position d’un objet dans l’écran Display de Sculpture Le réglage de la position d’un objet perturbe/excite une portion donnée de la corde. Les lignes verticales orange représentent la position des objets 1, 2 et 3. L’épaisseur et l’éclat de ces lignes indiquent la résistance/rigidité des objets. L’objet 1 peut être un excitateur. L’objet 3 peut être un amortisseur. L’objet 2 présente deux flèches, ce qui signifie qu’il peut servir soit d’excitateur, soit d’amortisseur. Pour régler la position du capteur d’un objet µ Faites glisser la poignée du curseur portant le numéro approprié (les flèches 1, 2 ou 3) pour chaque objet. Remarque : À mesure que vous déplacez les capteurs d’objet dans les plages Pickup A et B, l’intensité de la perturbation créée par l’objet croît de façon significative. Un certain nombre de changementss’opèrent alors, qui peuvent transformer radicalement le timbre global de votre son. 372 Chapitre 14 Sculpture Utilisation des commandes Spread/Key dans Sculpture Bien que n’étant pas présents dans la fenêtre Pickup, deux paramètres de capteur supplémentaires sont disponibles à droite de la nappe Material. • Spread (Key) : définit la valeur de balance en fonction du numéro de note MIDI. Selon les réglages effectués, plus vous jouez sur le haut ou le bas du clavier, plus la voix est orientée vers la gauche ou vers la droite, dans la balance. Faites glisser verticalement le bouton Key pour régler ce paramètre. Dans l’anneau qui entoure les paramètres Spread, deux lignes indiquent les valeurs. • Spread (Pickup) : ce paramètre répartit les signaux issus des deux capteurs d’une façon plus diffuse sur la base stéréo ou Surround. Autrement dit, la position des capteurs, alliée à ce paramètre, est plus étalée vers/depuis les canaux gauche/droite stéréo/Surround. Faites glisser verticalement le bouton Pickup pour régler ce paramètre. Dans l’anneau qui entoure les paramètres Spread, deux points indiquent les valeurs. En cas de surround, ces deux paramètres peuvent être affectés par le paramètre Surround Range. Pour en savoir plus, consultez la rubrique Contrôle des paramètres Surround Range et Diversity dans Sculpture Remarque : vous pouvez ainsi créer des effets de largeur et de chorus en modulant les valeurs des paramètres Pickup Position avec un oscillateur sub-audio ou tout autre modulateur. Utilisation des paramètres Global dans Sculpture Ces derniers se trouvent dans la partie supérieure de l’interface de Sculpture, sauf indication contraire. • Champ Glide Time : détermine le temps requis pour glisser d’une hauteur tonale de note à une autre. Consultez Définition de la valeur Glide (Portamento) Time dans Sculpture. Chapitre 14 Sculpture 373 • Champ Tune : permet d’affiner la hauteur tonale de l’ensemble de l’instrument, au centième près. Un centième correspond à 1/100e de demi-ton. • Champ Warmth : permet de désaccorder légèrement les différentes voix, ce qui ressemble beaucoup aux fluctuations aléatoires provoquées par les composantes et les circuits des synthétiseurs analogiques. Comme le nom du paramètre le suggère, cela « réchauffe » ou « épaissit » le son. • Champ Transpose : option servant à l’accordage brut de tout l’instrument. Étant donné la capacité de la modélisation des composantes à altérer radicalement la tonalité avec certains réglages, l’accordage brut se limite à l’incrémentation par octaves. • Champ Voices : détermine le nombre maximal de voix pouvant être jouées simultanément. La polyphonie maximale de Sculpture est de 16 voix. • Boutons dumode Keyboard : activent les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Keyboard dans Sculpture (Poly/Mono/Legato). • Champs Bender Range Up/Down : permettent de définir la plage de pitch bend vers le haut et vers le bas. Ces paramètres se situent sous Object 3, sur le côté gauche de l’interface. • Des réglages séparés sont disponibles pour les pitch bends vers le haut et vers le bas, en utilisant le contrôleur correspondant sur votre clavier MIDI. • Lorsque le paramètre Bender Range Down est défini sur Linked, la valeur de Bender Range Up est utilisée pour les deux directions (haut et bas). Remarque : tout comme sur une véritable guitare, la modulation de la corde va altérer la forme du modèle et non agir comme une simple modulation de hauteur. 374 Chapitre 14 Sculpture Sélection du mode Keyboard dans Sculpture (Poly/Mono/Legato) Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme sur un orgue ou un piano. À l’inverse, la plupart des anciens synthétiseurs analogiques sont monophoniques, ce qui signifie que vous ne pouvez jouer qu’une seule note à la fois, comme sur un cuivre ou un instrument à anche. Ce n’est toutefois pas un inconvénient en soi ; la monophonie autorise desstyles de jeu impossibles avec des instruments polyphoniques. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (si vous appuyez sur une nouvelle note tout en maintenant une autre enfoncée), les générateurs d’enveloppe ne sont déclenchés qu’à la première note jouée legato et leurs courbes poursuivent leur évolution jusqu’à ce que vous relâchiez la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Un jeu legato ne redéclenche pas les enveloppes. Tous les modes redéclenchent simplement une voix potentiellement sonnante avec la même tonalité, au lieu d’en attribuer une nouvelle. De ce fait, le déclenchement multiple d’une note donnée aboutit à de légères variations de timbre, selon l’état dans lequel se trouve le modèle au moment où la note est jouée. Si la corde de Sculpture continue de vibrer pour une note spécifique, le redéclenchement de cette même note donne lieu à une interaction avec la vibration en cours ou l’état de la corde. Important : un véritable redéclenchement de la corde vibrante ne se produira que si les deux curseurs Attack du générateur d’enveloppe d’amplitude sont définis sur zéro (0). Si l’un des curseurs est défini sur une autre valeur, une nouvelle voix sera affectée à chaque note redéclenchée. Consultez Utilisation des paramètres Amplitude Envelope dans Sculpture. Définition de la valeur Glide (Portamento) Time dans Sculpture Le paramètre Glide permet de définir la durée de portamento. Il s’agit de la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre. Le comportement du paramètre Glide dépend du mode Keyboard choisi. • Si le mode Keyboard est défini sur Poly ou Mono et que le paramètre Glide possède une valeur autre que 0, le portamento est activé. Chapitre 14 Sculpture 375 • Si le mode Keyboard est défini sur Legato et que Glide possède une valeur autre que 0, vous devez jouer legato (appuyer sur une nouvelle touche tandis que l’autre est toujours enfoncée) pour activer le portamento. Si vous ne jouez pas legato, le portamento ne fonctionnera pas. Ce comportement est également appelé fingered portamento. Utilisation des paramètres Amplitude Envelope dans Sculpture Les paramètres décrits dans cette section s’appliquent voix par voix. Il s’agit d’une enveloppe classique de type ADSR, qui étalonne les signaux des capteurs avant de les transmettre au Waveshaper et au filtre. Le positionnement de l’enveloppe d’amplitude à cet endroit du parcours du signal produit un son plus naturel, car vous pouvez contrôler le niveau dessignaux avant de les envoyer au Waveshaper (le cas échéant). Le Waveshaper peut avoir un impact important sur le contenu spectral du son, pouvant donner des résultats sonores synthétiques. • Curseurs Attack : Soft and Hard : ce paramètre est divisé en deux sections. Le curseur inférieur (Soft) détermine la durée d’attaque lorsque vous jouez vite sur le clavier (vélocité maximale). Le curseur supérieur (Hard) détermine la durée d’attaque lorsque vous jouez doucement sur le clavier (vélocité minimale). Vous pouvez régler les deux moitiés de curseursimultanément, en faisant glisser le pointeur de la souris dansl’espace qui les sépare. Important: les paramètres de durée d’attaque du générateur d’enveloppe d’amplitude ont une influence directe sur le redéclenchement d’une note isolée. Si les deux paramètres Attack Soft et Attack Hard sont définis sur 0, la corde en vibration est redéclenchée. Si l’un des deux paramètres est défini sur une valeur supérieure à 0, une nouvelle note est déclenchée. D’un point de vue sonore, le déclenchement d’une corde en vibration permet d’entendre des harmoniques différenteslors de la phase d’attaque. • Curseur Decay : ce paramètre permet de définir la durée de la chute, autrement dit, la durée nécessaire pour que le niveau du signal retombe à la valeur Sustain à l’issue de la phase d’attaque initiale (durée déterminée par le paramètre Attack). • Curseur Sustain : définit le niveau de soutien qui est maintenu jusqu’au relâchement de la touche. 376 Chapitre 14 Sculpture • Curseur Release : détermine le temps qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau de soutien. Des valeurs Release courtes ménagent les ressources du processeur, puisque la voix n’est plus traitée à l’issue de la phase de relâchement. Remarque : même pour des valeurs élevées de chute/relâchement, le son peut décroître rapidement. Une cause possible à ce problème est la définition de valeurs élevées pour le paramètre Inner Loss ou Media Loss (dans la section Material de la corde) ou au niveau des objets (2 ou 3) utilisés pour amortir la corde. Utilisation du Waveshaper dans Sculpture Le Waveshaper impose une courbe non linéaire pour chaque voix du signal en provenance des capteurs et de l’enveloppe d’amplitude. Le signal ainsi remis en forme est ensuite transmis au filtre. Cette procédure est assez similaire à la mise en forme des ondes des oscillateurs sur les synthétiseurs, tels que le Korg 01/W. • Bouton On/Off du Waveshaper : active ou désactive le Waveshaper. • Menu Type : choisissez l’une des quatre courbes de mise en forme d’ondes disponibles. Reportez-vous au tableau ci-dessous. • Potentiomètre Input Scale (morphing possible) : atténue ou amplifie le signal d’entrée, avant de commencer le traitement par le Waveshaper. Les valeurs positives offrent un spectre harmonique plus riche. L’accroissement de niveau induit par ce paramètre est automatiquement compensé par le Waveshaper. Remarque : compte tenu de son impact sur le spectre harmonique, il est préférable de considérer le paramètre Input Scale comme un contrôle de timbre, plutôt qu’un contrôle de niveau. Notez également que le choix de valeurs extrêmes pour le paramètre Input Scale peut générer un bruit de traitement en sortie du Waveshaper. • Potentiomètre Variation (morphing possible) : son action dépend du type de Waveshaper sélectionné. Reportez-vous au tableau ci-dessous. Chapitre 14 Sculpture 377 Valeur de 0,0 Valeurs négatives Valeurs positives Variation Type contrôle... Augmentent le niveau du signal mis en forme et ajoutent le signal d’origine en inversant sa phase, ce qui donne un son plus agressif. réduisent le niveau du signal mis en forme et ajoutent le signal d’origine. Signal mis en forme uniquement. la proportion Wet/Dry VariDrive altèrent la symétrie. altèrent la symétrie. mise en forme symétrique. le paramètre Bias, qui altère la symétrie de la courbe de mise en forme. • SoftSat • Tube Dist. • Scream Utilisation des paramètres Filter dans Sculpture Les paramètres décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme « morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations sur le morphing, consultez Présentation de la section Morph dans Sculpture. Les paramètres de filtre (Filter) offrent un contrôle du spectre/du timbre sonore encore plus précis. Si vous avez déjà manipulé des synthétiseurs, les intitulés vous seront sans doute familiers. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez Filtres. Potentiomètre Key Boutons de type de filtre Bouton Filter On/Off Potentiomètre Velo Sens Potentiomètre Resonance Potentiomètre Cutoff • Bouton Filter On/Off : active ou désactive la section de filtre. 378 Chapitre 14 Sculpture • Boutons de type de filtre : déterminent le mode de filtre. Les choix disponibles sont les suivants : • Hipass : ce filtre passe-haut laisse passer les fréquences situées au-dessus de la fréquence de coupure. Les fréquences situées en dessous de la valeur de fréquence de coupure étant supprimées, ce filtre est également connu sous le nom de filtre coupe-bas. Sa pente est égale à 12 dB/octave. • LoPass : laisse passer les fréquences situées en dessous de la fréquence de coupure. Les fréquences situées au-dessus de la valeur de fréquence de coupure étant supprimées, ce filtre est également connu sous le nom de filtre coupe-haut. Sa pente est égale à 12 dB/octave. • Peak : permet de définir la fréquence centrale de la bande de fréquences à l’aide du potentiomètre Cutoff. La bande passante et le gain sont contrôlés à l’aide du potentiomètre Resonance. Les fréquences hors bande sont laissées à leur niveau actuel. • Bandpass : seule la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance sert, cette fois, à définir la largeur de la bande de fréquences autorisée. Ce filtre est bipolaire et sa pente est de 6 dB/octave à chaque extrémité. • Notch : la bande de fréquence entourant directement la fréquence de coupure est coupée. Toutes les autres fréquences peuvent traverser le filtre. Le paramètre Resonance contrôle la largeur de la bande de fréquences atténuée. • PotentiomètreCutoff(morphing possible): détermine la fréquence centrale ou de coupure, suivant le type de filtre choisi. Dans le cas d’un filtre passe-bas, toutes les portions de fréquence situées au-dessus de la fréquence de coupure sont supprimées, ou coupées, d’où leur nom. Le paramètre Cutoff Frequency permet de doser la brillance du signal. Plus la fréquence définie est élevée, plus les fréquences des signaux autorisés à passer par le filtre passe-bas sont élevées. • Potentiomètre Resonance (morphing possible) : détermine la valeur de résonance du filtre. • Dans les modes Highpass et Lowpass, le paramètre Resonance accentue les portions du signal qui entourent la fréquence centrale. • Dansles modes Peak, Notch et Bandpass, le paramètre Resonance contrôle la largeur de la bande entourant la fréquence centrale. Chapitre 14 Sculpture 379 • Potentiomètre Key : permet de régler le suivi clavier de la fréquence de coupure. En bref, plus vous jouez sur le haut/bas du clavier, plus le son devient brillant/doux. Pour utiliser des termes plus techniques, la valeur de la fréquence de coupure est modulée par la position des notes sur le clavier. Si la valeur est définie sur 0,0, le suivi clavier est désactivé. Si la valeur est définie sur 1, la fréquence de coupure suit la fondamentale de la note jouée sur toute l’étendue du clavier. Jouez une octave au-dessus et la fréquence de coupure changera également d’une octave. • Potentiomètre Velo Sens: détermine de quelle manière la fréquence de coupure répond aux valeurs de vélocité de la note MIDI entrante. Plus vous jouez fort sur les touches du clavier, plus la valeur de la fréquence de coupure et, de façon générale, la brillance du son, est élevée. Si la valeur est définie sur 0,0, la sensibilité à la vélocité est désactivée. Si la valeur est définie sur 1,0, la sensibilité à la vélocité est maximale. Utilisation du paramètre Integrated Delay dans Sculpture Il s’agit d’un retard stéréophonique ou véritable Surround, synchronisable au tempo du projet. Il peut également être autonome (non synchronisé). La section Delay dispose de tous les paramètres généraux de retard courants, ainsi que de la nappe Groove (temporisation du retard). Curseurs LoCut/HiCut Pavé de groove Curseur Output Width Curseur Input Balance Curseur Delay Time Bouton Sync Potentiomètre Feedback Bouton d’activation/ désactivation Delay Potentiomètre Wet Level Potentiomètre Xfeed • Bouton Delay On/Off : active ou désactive la section Delay. • Potentiomètre Wet Level : définit le niveau de la sortie Delay. • Potentiomètre Feedback : définit la portion de signal de retard réacheminée depuis les canaux de sortie de l’unité de retard, vers les canaux d’entrée de l’unité de retard. Pour les valeurs négatives, le signal est réinjecté en opposition de phase. 380 Chapitre 14 Sculpture • Potentiomètre Xfeed (Crossfeed) : comme le potentiomètre Feedback présenté ci-dessus, le potentiomètre Xfeed définit la quantité de signal de retard réacheminée depuis le canal de sortie gauche vers le canal d’entrée droit et depuis le canal de sortie droit vers le canal d’entrée gauche de l’unité de retard. Pour les valeurs négatives, le signal est réinjecté en opposition de phase. Dans les instances Surround, le paramètre Xfeed contrôle l’opposition de phase entre les lignes de retard, mais offre des modes supplémentaires. Vous pouvez accéder à ces derniers dans la section des paramètres étendus de Sculpture. • Curseur LoCut : détermine la valeur de la fréquence de coupure du filtre passe-haut inséré dans la boucle de réinjection (entre la sortie et l’entrée du retard). • CurseurHiCut: détermine la valeur de la fréquence de coupure du filtre passe-basinséré dans la boucle de réinjection (entre la sortie et l’entrée du retard). • Nappe Groove : utilisée pour régler de manière graphique les temps de retard dans les instances Stéréo ou Surround. Consultez Utilisation de la nappe Groove (Stereo) dans Sculpture et Utilisation de la nappe Groove (Surround) dans Sculpture. • Curseur Input Balance : permet de déplacer le centre stéréo de l’entrée du retard vers la gauche ou vers la droite, sans perdre aucun élément du signal. Il est idéal pour configurer des retards de type « ping-pong ». • Danslesinstances Surround, ce paramètre déplace tousles canaux versle canal avant gauche ou avant droit. • Champ et curseur Delay Time : détermine le temps de retard. Ce paramètre peut être défini en valeurs musicales (1/4, 1/4t (1/4 triolet), etc. (voir « Bouton Sync » ci-dessous) ou en millisecondes. • Bouton Sync : permet de sélectionner le mode de synchronisation temporelle ou le mode libre. • Curseur Output Width : modifie la base Stéréo ou Surround du signal mouillé. Avec une valeur de 0,0, le signal de sortie est monophonique. Avec une valeur de 1, le signal de sortie est totalement Stéréo ou Surround ; c’est-à-dire que les canaux de sortie de la ligne de retard gauche sont envoyés uniquementsur le canal gauche, et que les canaux de sortie de la ligne de retard droite sont envoyés uniquement sur le canal droit, mais que le centre stéréo n’est pas attribué. Remarque : ce paramètre sert principalement à obtenir des grooves de retard purs, sans balance gauche/droite de type « ping-pong ». Chapitre 14 Sculpture 381 Utilisation de la nappe Groove (Stereo) dans Sculpture Lorsqu’ils sont utilisés dans une instance Stéréo de Sculpture, les paramètres Spread et Groove s’affichent dans la nappe Groove à deux dimensions. • Spread : paramètre utile pour obtenir des effets de retard stéréo larges. Les valeurs de l’axe des Y (au-dessus de la position centrée par défaut) augmentent la durée de retard de la ligne de retard droite ou réduisent celle de la ligne de retard gauche, ce qui décale les retards sur les canaux gauche et droit. Les valeurs négatives ont l’effet inverse. • Groove : distribue les points de lecture (taps) de retard sur les canaux gauche et droit, au lieu de décaler leurs durées comme le fait le paramètre Spread. Les valeurs de l’axe des X vous permettent de réduire la durée de retard sur l’une des lignes de retard, d’un pourcentage donné, tout en laissant la durée inchangée sur l’autre ligne de retard. Regardez bien l’info-bulle pendant que vous modifiez la valeur. • Par exemple, une valeur de +50 pour cent réduit la durée du retard droit de moitié. Si la valeur du paramètre Delay Time est 1/4, le retard droit sera égal à 1/8, alors que le retard gauche reste de 1/4. Il va sans dire que ce paramètre est parfait pour créer des retards rythmiques stéréo intéressants. Pour modifier les valeurs de la nappe Groove µ Faites glisser le losange vers le centre de la croix pour ajuster. Vous pouvez régler séparément les valeurs des paramètres Spread et Groove en faisant glisser directement les lignes qui sont en intersection avec le losange. Pour accéder au menu contextuel de la nappe Groove µ Cliquez sur la nappe Groove, tout en maintenant la touche ctrl enfoncée, pour ouvrir un menu contextuel contenant les commandes Clear, Copy et Paste. Ces derniers peuvent servir à copier et coller des réglages de retard entre plusieurs instances de Sculpture ou entre desréglages chargés de façon consécutive. L’option Clear réinitialise les réglages de retard en cours. Astuce : vous pouvez créer des effets vraiment larges de chorus et de retard modulé très intéressants en modulant les valeurs des paramètres Pickup Position et Pickup Spread avec un LFO ou tout autre modulateur, puis en envoyant ce signal dans l’unité de retard. 382 Chapitre 14 Sculpture Utilisation de la nappe Groove (Surround) dans Sculpture Lorsqu’elle est utilisée dans une instance Surround de Sculpture, la nappe Delay Time est convertie en nappe groove pure qui contrôle la relation de temps de retard entre : • les canaux gauche et droit (haut-parleurs) dans la direction horizontale, • Les canaux avant et arrière (haut-parleurs) dans la direction verticale. Le paramètre Spread est accessible séparément en tant que champ d’édition numérique dansla partie supérieure gauche de la nappe Groove. Pour modifier la valeur, faites glisser le curseur ou double-cliquez et saisissez une valeur. Utilisation de l’option Body EQ dans Sculpture L’option Body EQ (égaliseur corps) peut fonctionner comme un simple égaliseur, un outil de mise en forme spectral ou un simulateur de réponse de corps d’instrument. En effet, elle peut imiter les caractéristiques de résonance d’un corps en bois ou en métal, comme celui d’une guitare, d’un violon ou d’une flûte. Les différents modèles sont dérivés d’enregistrements des réponses impulsionnelles des corps d’instruments réels. Ces enregistrements ont été séparés en une structure de formants générale et une structure plus fine, ce qui permet de modifier séparément ces propriétés. Chapitre 14 Sculpture 383 L’option Body EQ affecte la somme des signaux de toutes les voix, et non chaque voix individuellement. Bouton On/Off Menu Model • Bouton Body EQ On/Off : active et désactive la section de mise en forme du spectre. • Menu Model : faites votre choix entre plusieurs imitations de corps d’instruments acoustiques et le modèle Basic EQ. Votre sélection est reflétée dansl’affichage graphique situé à droite. Remarque : lorsque vous sélectionnez Basic EQ ou un autre modèle Body EQ, le comportement et le nom des trois potentiomètres et du curseur du paramètre changent. Consultez Contrôle du modèle Basic EQ dans Sculpture et Contrôle des autres modèles Body EQ dans Sculpture. Contrôle du modèle Basic EQ dans Sculpture Les paramètres Basic EQ sont différents de ceux des autres modèles EQ. Potentiomètre Low Potentiomètre Potentiomètre Mid High Curseur Mid Frequency • Potentiomètre Low : permet de régler le gain d’un filtre de plateau de basses. • Potentiomètre Mid : permet de régler le gain d’un filtre de crête (à balayage ; consultez Mid Frequency slider ci-dessous). • Potentiomètre High : permet de régler le gain d’un filtre de plateau d’aigus. 384 Chapitre 14 Sculpture • Curseur Mid Frequency : détermine la fréquence centrale de la bande moyenne entre 100 Hz et 10 kHz. Pour régler de façon graphique le paramètre Basic EQ (modèle Lo Mid Hi) µ Faites glisser le curseur verticalement dansle tiers gauche de la représentation graphique, pour contrôler la valeur du paramètre Low. µ Faites glisser le curseur verticalement dansle tiers central de la représentation graphique, pour contrôler la valeur du paramètre Mid. µ Faites glisser le curseur horizontalement dans le tiers central de la représentation graphique, pour contrôler la valeur du paramètre Mid Frequency. µ Faites glisser le curseur verticalement dans le tiers droit de la représentation graphique, pour contrôler la valeur du paramètre Hi. Contrôle des autres modèles Body EQ dans Sculpture Pour tous les autres modèles Body EQ, vous disposez des paramètres suivants : Intensity Shift Stretch Curseur Fine Structure • Potentiomètre Formant–Intensity : agitsur l’intensité desformants du modèle. En d’autres termes,selon la façon dont ce paramètre est utilisé, lesformants(régions harmoniques) du modèle sont amplifiés ou inversés. Si la valeur est définie sur 0,0, la courbe de réponse est plate. Si la valeur est définie sur 1,0, les formants sont renforcés. Si les valeurs sont négatives, les formants sont inversés. • Potentiomètre Formant–Shift : décale les fréquences des formants de façon logarithmique. Par exemple, une valeur de -0,3 décale tous les formants d’une octave versle bas, tandis qu’une valeur de +0,3 les décale d’une octave versle haut. Une valeur de +1,0 provoque un décalage d’un facteur 10, de 500 Hz à 5000 Hz par exemple. Chapitre 14 Sculpture 385 • Potentiomètre Formant–Stretch : ce paramètre étire les fréquences des formants les unes par rapport aux autres. Autrement dit, ce paramètre modifie la largeur de toutes les bandes de fréquences traitées par l’égaliseur Body EQ, en augmentant ou en réduisant la gamme de fréquences. • Des valeurs basses au niveau du paramètre Formant Stretch rapprochent lesformants (centrés aux alentours de 1 kHz), tandis que des valeurs élevées les éloignent les uns des autres. Les valeurs du paramètre s’expriment sous la forme d’un rapport de la largeur de bande générale. Remarque : lorsqu’ils sont combinés, les paramètres Formant Stretch et Formant Shift modifient la structure des formants du son, ce qui peut générer des changements de timbre intéressants. • Curseur Fine Structure : améliore la structure spectrale (harmonique), ce qui permet de rendre les changements apportés au timbre général du son plus précis. Vous obtenez ainsi un son plus détaillé, plus riche au niveau harmonique et, selon le modèle sélectionné, ressemblant davantage à une guitare ou à un violon, par exemple. Autrement dit, les cavitésrésonnantes de l’instrument deviennent encore plussonores, de la même façon qu’une guitare avec une grande caisse, par exemple. Une valeur de 0,0 indique une absence de structure « fine ». Une valeur de 1,0 engendre une structure fine améliorant considérablement le modèle sélectionné. Remarque : une utilisation intensive du paramètre Fine Structure sollicite fortement les ressources du processeur. Notez également que l’utilisation du paramètre Fine Structure peut ne pas engendrer de différence significative au niveau de votre son. Celui-ci dépend de divers paramètres Waveshaper, de corde et du Body EQ. Alors, tendez l’oreille ! Pour régler les autres modèles Body EQ de façon graphique µ Faites glisser le curseur verticalement dans la représentation graphique, pour contrôler la valeur du paramètre Formant Intensity. µ Faites glisser le curseur horizontalement dansla représentation graphique, pour contrôler la valeur du paramètre Formant Shift. 386 Chapitre 14 Sculpture Utilisation des paramètres Output dans Sculpture Le paramètre Level Limiter est utile lorsque vous souhaitez « domestiquer » certains aspects agressifs(artefactssonores de type bourdonnements ou grondements) que vous risquez de rencontrer dans Sculpture. • Potentiomètre Level : contrôle le niveau de sortie global de Sculpture. • Boutons du mode Level Limiter : cliquez sur l’une des options suivantes : • Off : désactive le limiteur. • Mono : limiteur monophonique traitant le signal obtenu par addition de toutes les voix. • Poly : limiteur polyphonique traitant chaque voix séparément. • Both : combinaison des deux types de limiteur. Contrôle des paramètres Surround Range et Diversity dans Sculpture Dans les instances Surround, la section des paramètres étendus de Sculpture comprend les paramètres Surround Range et Surround Diversity : • Surround Range : détermine la plage de l’angle Surround, c’est-à-dire l’étendue du champ Surround. Imaginez un oscillateur sub-audio acheminé vers la balance d’un capteur avec une valeur de 1,0. En définissant la forme d’onde de LFO sur Sawtooth (dents de scie) et le paramètre Surround Range sur 360, vous obtenez un mouvement circulaire de la sortie vocale (autour de la totalité du cercle Surround). Le paramètre Surround Range influence aussi l’étalement de Key et Pickup de la même façon. Chapitre 14 Sculpture 387 • Surround Diversity : détermine le degré de propagation du signal de sortie dans vos haut-parleurs Surround. Si vous choisissez la valeur 0, seuls les haut-parleurs les plus proches de la position du signal d’origine transmettrons le signal. Une diversité de 1 signifie que tous les haut-parleurs transmettront la même quantité du signal. Utilisation du paramètre Modulation dans Sculpture Sculpture est doté de nombreuses destinations et sources de modulation, ce qui en fait un instrument très souple capable de générer des sons extraordinaires en constante évolution, comme des boucles audio, ou tout simplement expressifs, lorsque vous les jouez. Certaines sources de modulation fournies sont similaires à celles disponibles sur les synthétiseurs standard. Notamment : • Deux LFO librement assignables, avec fréquence synchronisable au tempo (du projet). • Un troisième LFO est dédié au vibrato (modulation tonale). • Deux enveloppes peuvent être utilisées comme enveloppes standard. Elles peuvent toutefois être utilisées de manière différente. Sculpture comprend également un certain nombre de sources de modulation spéciales, très différentes des sources standard. Notamment : • Deux générateurs de fluctuations avec largeur de bande ajustable, qui permettent de créer des variations aléatoires. • Deux générateurs aléatoires, qui ne changent les valeurs qu’au début de la note (Note-On). Ces outils sont parfaits, entre autres, pour imiter les effets de lèvres, de respiration et de langue des joueurs de cuivre. • Deux enveloppes enregistrables, qui peuvent servir de modulateurs à contrôle MIDI, avec la possibilité d’effectuer une lecture polyphonique voix par voix et de modifier les mouvements de contrôleurs MIDI entrants. 388 Chapitre 14 Sculpture Utilisation des routages de modulation dans Sculpture Sculpture ne dispose pas d’un routeur de modulation centralisé. Tous les routages de modulation (choix d’une source intermédiaire et/ou destination de modulation) s’effectuent dans chaque sous-fenêtre de source de modulation. Pour accéder à chaque sous-fenêtre de source de modulation µ Cliquez sur le bouton de la source de modulation appropriée. Lorsqu’une source de modulation est activée, la mention de bouton correspondante s’allume. N’importe quelle source de modulation peut être associée à n’importe quelle destination de modulation, un peu comme sur un ancien standard téléphonique ou un tableau de raccordement. Chaque source de modulation vous permet de sélectionner un (ou, dans la plupart des cas, deux) des principaux paramètres de synthèse, comme destination de modulation. L’intensité de modulation, c’est-à-dire le degré d’influence de la source sur la destination, est définie à l’aide de la commande Intensity (ou Amount)située dans chaque sous-fenêtre de source de modulation. L’intensité de modulation peut elle-même être modulée : le paramètre Via, présent dans les sous-fenêtres LFO et de sources d’enveloppes de contrôle, définit une source de modulation supplémentaire utilisée pour contrôler l’intensité de modulation. Elles comprennent : LFO Rate Modulation, VariMod, Morph Envelope Modulation et A Time Velosens. Lorsque ce paramètre est actif, vous pouvez spécifier des limites supérieures et inférieures pour l’intensité de modulation. Plusieurs routages de source, via et de destination peuvent avoir lieu simultanément. Vous pouvez également sélectionner la même destination pour plusieurs routages de modulation parallèles. Vous pouvez aussi utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Présentation des LFO dans Sculpture Sculpture propose deux LFO à formes d’ondes multiples. Les deux peuvent être utilisés de manière polyphonique, monophonique ou de façon intermédiaire. Chapitre 14 Sculpture 389 En mode monophonique, la modulation est identique pour toutes les voix. Pour mieux comprendre ceci, imaginez qu’un accord est joué sur le clavier. Si vous utilisez l’oscillateur 2 pour moduler la hauteur tonale, par exemple, la hauteur tonale de toutes les voix dans l’accord joué augmente et diminue de manière synchronisée. On parle alors de modulation avec verrouillage en phase. Dans le même scénario, si le LFO 2 est utilisé en mode polyphonique pour moduler plusieurs voix, il n’y aura pas de verrouillage en phase. Si vous utilisez une valeur intermédiaire aléatoire,seules certaines notesseront modulées de façon synchrone. En outre, les deux LFO sont synchronisés sur les notes : chaque fois que vous jouez une note, la modulation LFO de la voix associée repart de zéro. • Pour mieux comprendre la caractéristique sans verrouillage en phase, imaginez un scénario danslequel un accord est joué sur le clavier. Si le LFO 2 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. • La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. • Les deux LFO permettent aussi d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. 390 Chapitre 14 Sculpture Utilisation des paramètres LFO 1 et 2 dans Sculpture Cette section traite des principaux paramètres LFO. Potentiomètre Envelope Menu Waveform Potentiomètre Rate Boutons Sync/Free Potentiomètre Curve Curseur Rate Mod Potentiomètre Phase Menu Source • Menu Waveform : définit la forme d’onde utilisée pour la modulation LFO. Consultez Utilisation du paramètres LFO Waveforms dans Sculpture. • Potentiomètre Curve : modifie les formes d’onde de modulation. Une valeur de 0 active le type de forme d’onde pure choisi. Les positions +1 et -1 déforment l’onde. Par exemple, si vous avez choisi une onde sinusoïdale comme type de forme d’onde LFO : • Valeur Curve égale à 0,0 : onde de forme sinusoïdale. • Valeur Curve supérieure à 0,0 : pnde transformée progressivement pour aboutir à une forme quasi rectangulaire. • Valeur Curve inférieure à 0,0 : la pente au point de passage par zéro est réduite, ce qui crée des impulsions douces, plus courtes, de +1 et -1. Remarque : la forme d’onde affichée entre le potentiomètre Curve et le menu Waveform permet de visualiser le résultat obtenu avec ces deux réglages de paramètres. • potentiomètre Rate : détermine la fréquence de la modulation LFO, que vous pouvez soit synchroniser au tempo en cours du projet, soit définir de manière indépendante (en Hertz). Consultez Réglage du paramètre LFO Rate dans Sculpture. • Boutons Sync/Free : en interaction avec le paramètre Rate, ces boutons permettent de sélectionner des fréquences LFO synchronisées ou libres. La valeur synchronisée est calculée d’après le tempo et la métrique du projet. • Potentiomètre Envelope : contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO. Consultez Utilisation du générateur d’enveloppe LFO dans Sculpture. Chapitre 14 Sculpture 391 • Potentiomètre Phase : vous permet de choisir une modulation LFO polyphonique ou monophonique. Ces deux types de modulation peuvent avoir des phases similaires, des relations de phase totalement aléatoires, des phases synchronisées sur les touches ou tout autre fonctionnement intermédiaire. Astuce : si vous décalez légèrement le potentiomètre Phase par rapport à la position mono, vous obtiendrez des modulations non verrouillées pour toutesles voix de phase similaire, mais non identique. C’est la solution idéale pour les vibratos de sections de cordes. • Menu RateMod Source : permet de sélectionner une source de modulation pour le paramètre LFO Rate. • Curseur RateMod Amount : définit l’intensité (niveau) de modulation de la fréquence LFO. Brève présentation des LFO Un oscillateurs sub-audio ou basse fréquence (LFO, Low Frequency Oscillator) est un oscillateur assez semblable à ceux que l’on peut trouver sur un synthétiseur standard : • Un LFO génère des signaux de modulation, dont la fréquence est inférieure à la plage de fréquences audibles; leur bande passante se situe généralement entre 0,1 et 20Hz, mais atteint parfois 50 Hz. • Cessignaux étant inaudibles, le LFO peutservir uniquement de source de modulation pour des effets périodiques ou cycliques, et non pour le signal audio principal. Consultez Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons. Sélection des sources via et destination de modulation LFO dans Sculpture Vous pouvez attribuer deux destinations de modulation par LFO. Vous pouvez également définir une modulation via. Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources. 392 Chapitre 14 Sculpture Les menus Via déterminent la source contrôlant la mise à l’échelle de la modulation pour chaque oscillateur sub-audio. Si la source Via est définie sur Off, seul le curseur Amount est visible (le curseur Via Amount est masqué) : • Curseurs Amt (1 et 2) : détermine l’amplitude de la modulation. Si une source Via autre que Off est sélectionnée, deux curseurs sont visibles : • Curseurs Amt (1 et 2) : détermine le taux de modulation dans les cas où le signal intermédiaire entrant est nul (0). Lorsque la roulette de modulation est à sa position minimale, par exemple. • Curseurs Via (Amount) (1 et 2) : détermine le taux de modulation dansles cas où le signal via entrant est maximum Par exemple, lorsque la roulette de modulation est à sa position maximale. Utilisation du paramètres LFO Waveforms dans Sculpture Les boutons LFO Waveform vous permettent de choisir différentes formes d’onde pour les LFO. Le tableau ci-dessous indique de quelle manière ces formes d’onde peuvent affecter vos modulations. Waveform Commentaires Sinus Idéale pour les modulations régulières, constantes. Triangle Convient bien aux effets de vibrato. Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées des fréquences de l’oscillateur, avec une onde en dents de scie négative (inversée), génèrent des sons de type « glou-glou ». Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance desfiltres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. Sawtooth Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire unipolaire (saillante) évolue entre une valeur positive et zéro. Une forme rectangulaire bipolaire (en creux) évolue entre une valeur positive et une valeur négative ; ces valeurs sont symétriques par rapport à zéro. Vous pouvez obtenir un effet intéressant en modulant la hauteur tonale selon une intensité appropriée, de façon à obtenir un intervalle de quinte. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Chapitre 14 Sculpture 393 Waveform Commentaires Les deux réglages de forme d’onde S & H des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde S & H s’échelonne entre des valeurs aléatoires (passages rapides d’une valeur à une autre). Le réglage S & H Lag lisse l’onde aléatoire ; les transitions entre les différentes valeurs sont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. La valeur de ces échantillons est ensuite maintenue jusqu’à l’échantillonnage suivant. Conseil :une modulation aléatoire de Pitch123 permet de produire l’effet de génération de modèle de tonalité aléatoire, communément appelé « Sample & Hold ». Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Peut être utilisé pour les modulations chaotiques, mais sert principalement en association avec la fonction d’enveloppe LFO (qui permet d’introduire une brève modulation à un moment donné de la phase de note), par exemple pour introduire une respiration dans une imitation de cuivre ou pour contrôler le clic des touches d’un orgue ou le bruit du marteau d’un piano. La nature aléatoire de cette forme d’onde (bruit) implique que les modulations varient légèrement à chaque fois. Bruit filtré Utilisation du générateur d’enveloppe LFO dans Sculpture Les LFO sont dotés d’un générateur d’enveloppe simple, utilisé pour contrôler le temps nécessaire pour le fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique ; aucun fondu entrant ou sortant ne se produit. Pour définir la transition de la modulation LFO µ Sélectionnez une valeur positive à l’aide du potentiomètre Envelope, afin d’obtenir un fondu entrant pour la modulation. Plus la valeur est élevée, plus le temps de retard est long. µ Sélectionnez une valeur négative à l’aide du potentiomètre Envelope, afin d’obtenir un fondu sortant pour la modulation. Plus vous tournez le potentiomètre à gauche, plus le temps de fondu est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Tournez le potentiomètre LFO Envelope vers la droite (Delay) et sélectionnez la hauteur tonale comme cible. 394 Chapitre 14 Sculpture 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO (LFO Rate) d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO (LFO Waveform). Astuce : les modulations rapides et chaotiques de la hauteur tonale par une source LFO, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage du paramètre LFO Rate dans Sculpture Les deux LFO conviennent particulièrement pour la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le paramètre Rate détermine la vitesse du LFO. Ce paramètre peut être défini librement avec une valeur en Hz (lorsque le bouton Free est actif) ou avec une valeur rythmique (lorsque le bouton Sync est actif). En cas de synchronisation avec le tempo du projet, les fréquences disponibles correspondent à une durée comprise entre 32 mesures et 1/64 de triolet. Les valeurs de triolet et pointées sont également disponibles. Chapitre 14 Sculpture 395 Utilisation du vibrato dans Sculpture Un LFO est préassigné à la hauteur du son, ce qui permet de créer des effets de vibrato (modulations périodiques de la hauteur tonale). L’intensité de l’effet de vibrato est ajustée à l’aide du contrôleur MIDI attribué dans le menu VibDepth Ctrl (dans la section d’assignation du contrôleur MIDI). Pour en savoir plus, voir Affectation de contrôleurs MIDI dans Sculpture. Potentiomètre Phase Menu Waveform Potentiomètre Rate Potentiomètre Curve Curseurs DepthviaVibCtrl Boutons Sync/Free Vib Depth Ctrl • Menu Waveform : permet de choisir la forme d’onde utilisée pour le vibrato : sinus, triangle, dents de scie, etc. Remarque : il existe deux ondes rectangulaires spéciales, Rect01 et Rect1. La première oscille entre des valeurs comprise entre 0 et 1 (unipolaire) et la seconde entre des valeurs comprises entre−1 et+1 (bipolaire, comme les autresformes d’ondes). Consultez Utilisation du paramètres LFO Waveforms dans Sculpture. • Potentiomètre Curve : permet de définir un nombre librement variable de variations dansla forme d’onde, ce qui engendre des changementssubtils ou drastiques au niveau des formes d’onde de modulation. Remarque : la forme d’onde affichée entre le potentiomètre Curve et le menu Waveform permet de visualiser le résultat obtenu avec ces deux réglages de paramètres. • Potentiomètre Phase : ce paramètre permet de choisir entre des vibratos strictement monophoniques ou polyphoniques: phasessimilaires, relations de phase complètement aléatoires, phase synchronisée à l’enfoncement des touches, etc. ou tout élément intermédiaire. Pour en savoir plus, voir Présentation des LFO dans Sculpture. • potentiomètre Rate : ce paramètre détermine la fréquence du vibrato, que vous pouvez soitsynchroniser au tempo en cours du projet,soit définir dansl’absolu (en Hertz). Pour en savoir plus, voir Présentation des LFO dans Sculpture. 396 Chapitre 14 Sculpture • Curseurs DepthviaVibCtrl : ces curseurs définissent l’impact du contrôleur affecté à Vib Depth Ctrl (consultez Affectation de contrôleurs MIDI dans Sculpture). • Curseur Vib : détermine l’intensité de la modulation. • Curseur Amt : détermine le degré de modulation maximal. Création de modulations aléatoires dans Sculpture : JItter De nombreux sons peuvent tirer parti de l’utilisation des faibles modulations aléatoires au niveau des paramètres. Celles-ci peuvent imiter lessubtiles variations quise produisent lorsque des instruments spécifiques sont joués. Les deux générateurs de fluctuations sont des sources LFO spéciales, conçues pour produire des variations aléatoires continues, par exemple des changements progressifs de la position de l’archet. Les générateurs de fluctuations équivalent à des oscillateurs sub-audio généraux définis sur une forme d’onde de type bruit. Remarque : la modulation des fluctuations au niveau des positions des capteurs en tant que cible permet d’obtenir des effets de chorus intéressants. Potentiomètre Rate Menu Target Curseur de niveau Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources de gigue. • Potentiomètres Rate : définissent la vitesse du signal de modulation (fluctuations) pour chaque générateur de fluctuations. • Menus Target 1 et 2 : permettent de définir les destinations des modulations 1 et 2. • Curseurs Amount 1 et 2 : permettent de déterminer l’amplitude de modulation séparément pour chaque générateur de fluctuations. Chapitre 14 Sculpture 397 Création de modulations aléatoires dans Sculpture : Note-On Random Les deux sources Note-On Random servent à introduire des variations aléatoires entre différentes notes/voix. Leurs valeurs sont générées de façon aléatoire pour chaque note et restent constantes jusqu’au relâchement de la voix. De telles variations aléatoires sont très utiles pour ajouter de l’intérêt et épaissir le son lorsque vous jouez de façon polyphonique. La fonction Note-On Random est également utile pour recréer les fluctuations périodiques introduites par le musicien lorsqu’il joue de son instrument, même lorsqu’il répète la même note. Menu Target Curseur de niveau Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources aléatoires de note activée. • Menus Target : détermine la destination de la modulation, à savoir le paramètre dont la valeur est modulée de façon aléatoire lorsque vous jouez une note. • Curseurs Amount : définit l’amplitude de modulation, à savoir son intensité. Attribution de modulations de vélocité supplémentaires dans Sculpture Les objets d’excitation et le filtre disposent de contrôles dédiés pour la sensibilité à la vélocité. De nombreux autres routages de modulation permettent de sélectionner la vélocité comme source via. 398 Chapitre 14 Sculpture Dans certains cas, cependant, il peut être intéressant de contrôler directement d’autres paramètres de synthèse principaux par la vélocité. C’est ce que permet cette section, qui met à votre disposition deux emplacements indépendants de courbe de destination/d’amplitude/de vélocité. Curseur de niveau Boutons de courbe Menu Target Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources de vélocité. • Menus Target (1 et 2) : permet de sélectionner le paramètre de destination à moduler par la vélocité. • Curseurs Amount (1 et 2) : détermine l’amplitude, ou intensité, de la modulation. • Boutons Curve (1 et 2) : permet de sélectionner une option de courbe de vélocité : concave, linéaire ou convexe. Chapitre 14 Sculpture 399 Utilisation des paramètres Controller A et B dans Sculpture Ces paramètres vous permettent de définir deux cibles de modulation discrètes. L’intensité (ou amplitude) de la modulation est affectée au contrôleur A et/ou au contrôleur B. Curseur de niveau Bouton Continue Menu Target Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources du contrôleur. • Menus Target(1 et 2) : sélectionnez le paramètre cible que voussouhaitez moduler avec le contrôleur spécifié. Chaque cible dispose d’un bouton binaire (dont l’intitulé change selon l’état) : • Continue : modulation continue. • NoteOn : la valeur de modulation est actualisée uniquement à réception d’un message de type Note-On. • Curseurs Amount (1 et 2) : détermine l’amplitude, ou intensité, de la modulation. Présentation des enveloppes de contrôle dans Sculpture Les sources de contrôle proposées par Sculpture comprennent deux enveloppes. Sur les synthétiseurs standard, les enveloppes permettent de contrôler l’amplitude et le niveau de filtrage sur la durée. Les deux enveloppes de Sculpture, quant à elles, sont un peu spéciales, car elles peuvent servir : • d’enveloppes traditionnelles à quatre segments, • de modulations de contrôleur MIDI, 400 Chapitre 14 Sculpture • une combinaison des deux, comme enregistreurs de mouvement d’un contrôleur MIDI (avec des paramètres de macro de type ADSR), pour lecture polyphonique. Menu Target Curseur VariMod Boutons Mode Cliquez ici pour choisir Envelope 1 ou 2. Fenêtre de l’enveloppe Menu Via Menu VariMod Source Curseur Via (niveau) Curseur Amt • Menus Target 1 et 2 : permettent de définir les destinations de modulation 1 et 2. Deux cibles de modulation peuvent être assignées par enveloppe, avec éventuellement une modulation via supplémentaire. Les cibles incluent les paramètres de corde, d’objet, de capteur, Waveshaper et de filtre. • Menus (source) Via (1 et 2) : détermine la source de modulation utilisée pour équilibrer l’amplitude de la modulation Envelope. • Curseurs Amt et Via (Amount) (1 et 2) : détermine l’amplitude de la modulation. Si une source Via autre que Off est sélectionnée, les deux curseurs sont visibles. • Curseur Amt : détermine l’amplitude de modulation lorsque le signal Via entrant est défini sur zéro (roulette de modulation à sa position minimale, par exemple). • Curseur Via (Amount) : détermine l’amplitude de modulation lorsque le signal Via entrant est défini sur Full (par exemple, roulette de modulation à sa position maximale). • Curseur VariMod et menu Source : le curseur VariMod n’est disponible que pour les enveloppes enregistrées. Il vous permet de sélectionner une source, et une amplitude, de modulation pour contrôler l’intensité de la variation d’une enveloppe. • Boutons Mode (Ctrl et Env) : utilisés pour sélectionner une fonctionnalité d’enveloppe standard ou un contrôleur (mode exécution). Si les deux sont activées, la valeur du contrôleur est ajoutée à la sortie de l’enveloppe, ce qui crée un décalage de modulation. Remarque : lorsque les enveloppes sont utilisées comme enregistreurs de modulation polyphoniques et comme unités de lecture, chaque voix est traitée individuellement, c’est-à-dire qu’une enveloppe distincte est déclenchée lorsque chaque note est jouée. • Fenêtre Envelope : affiche la courbe de l’enveloppe et vous permet d’enregistrer et de modifier les enveloppes. Consultez Utilisation de l’écran Envelope dans Sculpture et Paramètres Envelope dans Sculpture. Chapitre 14 Sculpture 401 Utilisation de l’écran Envelope dans Sculpture La courbe de l’enveloppe s’affiche dans le coin inférieur droit de l’interface de Sculpture. La fenêtre de l’enveloppe n’est active que si la fonctionnalité de l’enveloppe est enclenchée (boutons Mode définis sur Env ou Ctrl+Env). • La durée totale de l’enveloppe est indiquée par l’entrée numérique située dans le coin supérieur droit de la fenêtre (2400 ms dans l’exemple). • La durée maximale de l’enveloppe est de 48 mesures/40 secondes. • Les lignes formant la grille en arrière-plan sont espacées de 100 ms. • Pour les durées d’enveloppe très longues, elles sont espacées de 1 000 ms. En mode Sync, les lignes représentent une noire. • Dès que vousrelâchez le bouton de la souris, l’enveloppe est automatiquement agrandie par un effet de zoom. Ceci permet d’afficher l’ensemble de l’enveloppe avec la meilleure résolution possible. Vous pouvez désactiver/activer cette fonction en cliquant sur le bouton Autozoom (en forme de loupe). • La fonction Autozoom est automatiquement désactivée lorsque vous procédez à un zoom manuel, en cliquant sur l’arrière-plan de la fenêtre de l’enveloppe, puis en la faisant glisser horizontalement. À titre de référence, la largeur de la fenêtre en cours apparaît au niveau de l’entrée numérique située dans le coin supérieur droit de la fenêtre. Vous pouvez réactiver la fonction Autozoom en cliquant sur le bouton correspondant. • Si vous cliquez sur les poignées (nœuds) ou sur les lignes séparant les nœuds dans la fenêtre Envelope, le segment d’enveloppe correspondant passe en surbrillance. Un petit message d’aide indique la durée, en millisecondes, du segment en question. 402 Chapitre 14 Sculpture Paramètres Envelope dans Sculpture Les paramètres suivants ne sont actifs que si la fonctionnalité de l’enveloppe est enclenchée (boutons Mode définis sur Env ou Ctrl+Env). • Curseur A-Time Velosens : définit la sensibilité à la vélocité pour la phase d’attaque de l’enveloppe. Une valeur positive réduit le temps d’attaque à faible vélocité. Une valeur négative réduit le temps d’attaque à haute vélocité. • Champ Timescale : permet d’étalonner la durée d’enveloppe totale, entre 10 pour cent (dix fois plus rapide) et 1 000 pour cent (dix fois plus lente). Ceci a également une incidence sur l’apparence de la courbe d’enveloppe affichée,selon qu’elle est raccourcie (accélérée) ou rallongée (ralentie). • Menu Sustain Mode : définit le comportement de l’enveloppe lorsqu’une note est maintenue. Le mode Sustain normal (par défaut), le mode Finish ou l’un destrois modes de boucle (Loop Forward, Loop Backward, Loop Alternate).Voir Mise en boucle des enveloppes dans Sculpture • Boutons Sync et ms : faite votre choix entre une enveloppe tournant librement (les durées des segments étant alors affichées en millisecondes) et une enveloppe synchronisée sur le tempo, en tenant compte de valeurs de notes, telles que 1/8 ou 1/4. Remarque : le passage d’une valeur à l’autre déclenche un nouveau calcul des valeurs, arrondies à la durée en ms ou à la valeur de note la plus proche, en fonction du tempo en vigueur dans le projet. • Bouton Compare : permet de basculer entre l’enregistrement original et la version modifiée. Remarque : cette option n’est disponible que si vous avez effectivement enregistré et modifié une courbe d’enveloppe. • VariMod - Source et Amount : option disponible uniquement pour les enveloppes enregistrées. Elle contrôle l’intensité de la variation d’enveloppe avec une source de modulation définie par l’utilisateur. • Les options de source incluent : Off, Velocity Concave, Velocity, Velocity Convex, KeyScale, Ctrl A et Ctrl B. Chapitre 14 Sculpture 403 • Pour les enveloppes, le terme « variation » désigne la déviation entre le chemin de l’enveloppe enregistrée et la ligne « droite » passant par ses points. Après avoir enregistré une enveloppe, vous pouvez réduire ou exagérer les fluctuations d’amplitude (variations) de l’enregistrement en appuyant sur la touche Commande et en faisant glisser les courbes entre les points vers le bas (pour réduire) ou vers le haut (pour accentuer). Utilisation des nœuds d’enveloppe dans Sculpture Lors de la première ouverture d’une enveloppe, la courbe d’enveloppe par défaut est automatiquement créée pour chaque enveloppe. Cliquez sur le bouton (Mode) Env pour l’afficher. Vous verrez quelques poignées (nœuds) placées de gauche à droite le long d’une ligne droite située à l’intérieur de l’enveloppe. Il s’agit d’indicateurs des paramètres suivants : • Nœud 1 : niveau de départ. Ne peut être repositionné. • Nœud 2 : position/niveau de durée d’attaque. • Nœud 3 : position/niveau de durée de boucle. • Nœud 4 : position/niveau de durée de soutien. • Nœud 5 : niveau/position de durée de fin. Lorsque vous déplacez le curseur le long de la ligne ou sur les nœuds, le segment d’enveloppe en cours apparaît en surbrillance. Vous pouvez créer vos propres enveloppes manuellement, en intervenant directement sur les nœuds et les lignes, ou bien enregistrer une enveloppe, comme expliqué dans la rubrique Enregistrement des enveloppes dans Sculpture. Pour modifier le temps entre les nœuds µ Cliquez sur la poignée souhaitée et faites-la glisser vers la gauche ou vers la droite. Ce faisant, la durée globale de l’enveloppe change et tousles nœudssuivantssont décalés. Lorsque vous relâchez le bouton de la souris, la fenêtre de l’enveloppe zoome automatiquement pour afficher l’intégralité de l’enveloppe. Remarque : vous ne pouvez pas déplacer un nœud au-delà de la position du nœud précédent. Vous pouvez en revanche déplacer des nœuds au-delà de la position du nœud suivant, y compris au-delà du côté droit de la fenêtre de l’enveloppe, ce qui rallonge à la fois le segment de l’enveloppe et l’enveloppe globale. Pour régler le niveau de chaque nœud µ Cliquez sur la poignée souhaitée et faites-la glisser vers le haut ou vers le bas. 404 Chapitre 14 Sculpture Pour définir la forme de la courbe entre les nœuds µ Pour des enveloppes simples (non enregistrées), cliquez directement sur la ligne qui relie les nœuds, puis faites-la glisser vers le haut ou vers le bas. µ Pour des enveloppes enregistrées, qui peuvent présenter des courbes plus complexes entre les nœuds, faites glisser la courbe en maintenant la touche ctrl enfoncée. Essayez diverses manipulations avec chaque nœud et chaque paramètre, de façon à bien comprendre comment ilsfonctionnent. Vous constaterez que l’utilisation des enveloppes est très intuitive. Copie des enveloppes avec le menu Shortcut dans Sculpture Cliquez sur les boutons d’enveloppe ou sur l’arrière-plan de la fenêtre d’enveloppe tout en appuyant sur la touche ctrl, pour ouvrir un menu contextuel qui contient les commandes Copy, Paste et Clear. Celles-ci vous permettent de copier et de coller les enveloppes comprises entre les Enveloppes 1 et 2, entre les réglages ou entre plusieurs instances ouvertes de Sculpture. La commande Clear permet de supprimer l’enveloppe sélectionnée. Mise en boucle des enveloppes dans Sculpture L’enveloppe peut, comme n’importe quelle enveloppe, fonctionner en mode Trigger unique (les phases de l’enveloppe sont exécutéestant que la note est tenue). Vous pouvez également parcourir chaque phase plusieursfois ou en une boucle infinie, un peu comme un LFO. Pour cela, vous devez utiliser des boucles. Vous pouvez synchroniser automatiquement les boucles sur le tempo du projet, en utilisant les boutons sync et ms. Lorsque vous utilisez l’un des modes de boucle, la boucle se répète toujours entre les poignées d’enveloppe définies par l’utilisateur, qui indiquent le point de départ de la boucle (icône L) et le point de soutien (icône S). Vous pouvez faire glisser ces poignées vers la position souhaitée. • En mode Finish, l’enveloppe est exécutée une seule fois du début à la fin, même si la note est relâchée avant que toutes les phases de l’enveloppe ne soient terminées. Tous les autres paramètres de boucle sont également désactivés. • En mode Loop Forward, l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’avant. • En mode Loop Backward, l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de soutien et le point de boucle, toujours vers l’arrière. Chapitre 14 Sculpture 405 • En mode Loop Alternate, l’enveloppe va jusqu’au point de soutien et revient au point de boucle, puis repart jusqu’au point de soutien, périodiquement. Elle est donc parcourue de façon alternée en avant et en arrière. Remarque : si le point de boucle estsitué derrière le point de soutien, la boucle commence après le relâchement de la touche. Enregistrement des enveloppes dans Sculpture Avant de commencer, il est important de noter que vous pouvez enregistrer uniquement les mouvements du contrôleur MIDI attribué. Cette attribution de contrôleur MIDI pour les enveloppes s’effectue dans la section MIDI Controller Assignment, dans la partie inférieure de l’interface de Sculpture (consultez Affectation de contrôleurs MIDI dans Sculpture). Assignation d’un contrôleur MIDI d’enveloppe • Bouton R(ecord) : active (arme) la fonction d’enregistrement d’enveloppe. Pour arrêter (ou désarmer) l’enregistrement, il suffit de cliquer une nouvelle fois sur le bouton R ou d’utiliser la fonction de réglage du mode Trigger d’enregistrement (Mode Record Trigger), décrite ci-après. • Menu Mode Record Trigger : permet de choisir différents modes de déclenchement de l’enregistrement (lorsque le bouton R(ecord) est activé) : • NoteOn : l’enregistrement commence dès que vous jouez une note. • Note+CtrlMovement: l’enregistrement démarre lorsque des messages de changement de contrôle MIDI (pour les contrôleurs assignés, consultez Affectation de contrôleurs MIDI dans Sculpture) arrivent alors qu’une note est maintenue. 406 Chapitre 14 Sculpture • Note + Sustain Pedal : l’enregistrement commence lorsque la pédale Sustain est enfoncée et qu’une note est maintenue. Pour enregistrer une enveloppe 1 Définissez le mode Record Trigger sur le mode souhaité (Note+Ctrl, par exemple). 2 Activez l’enregistrement en cliquant sur le bouton R. 3 Jouez une note et maintenez enfoncée la touche correspondante, puis commencez à déplacer les contrôleurs affectés aux commandes d’enveloppe 1 et/ou 2 (la roulette de modulation, par exemple). Pour arrêter l’enregistrement d’une enveloppe Procédez de l’une des manières suivantes : µ Désactivez manuellement le bouton Record (R), en cliquant dessus. µ Relâchez toutes les voix. µ Jouez une nouvelle note après avoir relâché toutes les touches. Remarque : lorsqu’un mouvement de contrôleur a été enregistré, R(ecord) est réglé automatiquement sur Off et Mode est défini sur Env. Vous avez ainsi l’assurance que seul le mouvement enregistré sera actif, quelle que soit la position stop du contrôleur enregistré. Pour jouer une enveloppe enregistrée µ Appuyez sur une touche pour lancer la lecture polyphonique de l’enveloppe enregistrée. Remarque : le paramètre Mode doit être défini sur Env et le paramètre R(ecord) doit être réglé sur Off. Vous pouvez également activer les boutons Env et Ctrl du paramètre Mode. Dans ce cas, vous pouvez utiliser les contrôleurs assignés à Ctrl Env1 ou Ctrl Env2 pour manipuler l’enveloppe en temps réel, tout en lisant l’enveloppe enregistrée. Remarque : cependant, lorsque Env et Ctrl sont tous deux activés, la valeur du contrôleur est ajoutée à la valeur de sortie de l’enveloppe, ce qui engendre un décalage de modulation. Pour préparer une enveloppe enregistrée à des fins de modification µ Les segments et les poignées de l’enveloppe sont automatiquement définis après l’enregistrement ; il vous suffit donc de faire glisser les lignes verticales situées entre les poignées pour activer la fonction de modification. Remarque : cette opération ne modifie pas la forme de l’enveloppe. Chapitre 14 Sculpture 407 Présentation de la section Morph dans Sculpture Sculpture dispose d’un certain nombre de paramètres pouvant être soumis à un morphing. Ces paramètres sont signalés dans l’interface par une barre de valeur orange, au lieu de la barre bleu ou turquoise habituelle. Ceci vous permet de les identifier et d’en modifier la valeur plus facilement. Tous les paramètres « morphables » peuvent être réglés individuellement et stockés dans un point de morphing. Par essence, la valeur de ces paramètres est capturée à un moment donné dans le temps, comme un cliché photographique. Vous pouvez modifier progressivement le son (de façon subtile ou radicale) entre un maximum de cinq instantanés, appelés points de morphing. Les outils Morph Pad et Morph Envelope vous permettent de créer et de contrôler avec précision les mouvements des points de morphing et la manière dont ils fusionnent. La position courante du point de morphing est indiquée par la boule de la nappe Morph (Morph Pad). Cette boule peut être déplacée à l’aide des contrôleurs MIDI, par exemple un stick vectoriel, ou à l’aide de la souris. Vous pouvez enregistrer et lire ces mouvements individuellement, en appliquant un morphing différent à chaque voix. Nappe Morph Enveloppe de morphing La section de morphing comprend deux parties : • Nappe Morph : permet d’afficher et de modifier, ou de tracer, des parcours de point de morphing. Elle fournit cinq points de morphing (quatre aux coins et un au centre), plus des options de menu permettant de définir de manière aléatoire, de copier et de coller les points de morphing ou les états de la nappe Morph. 408 Chapitre 14 Sculpture • Enveloppe de métamorphose : permet d’afficher et de modifier les points de morphing, soit par segment (avec la souris), soit par l’intermédiaire des mouvements de contrôleurs MIDI enregistrés. Par exemple, vous pouvez utiliser un stick vectoriel (contrôleurs Morph X/Y) ou la boule de la nappe Morph. Fenêtre Sculpture Morph Position La ligne rouge qui apparaît au niveau du paramètre Timeline de l’enveloppe de morphing affiche la position temporelle en cours, lors d’un morphing. La nappe Morph de Sculpture affiche un point mobile qui indique la position actuelle du morphing. Le point indique la position actuelle du morphing. La ligne indique la position actuelle du morphing. Remarque : la position actuelle du morphing est affichée uniquement lorsqu’une seule note est jouée. Sélection des points de morphing avec la nappe Morph dans Sculpture L’un des cinq points de la nappe Morph (A/B/C/D/Center) est toujours sélectionné pour édition. Ce point sélectionné est indiqué par deux cercles concentriques qui l’entourent. Bouton Auto Select Point de morphing actif Si vous activez le mode Auto Select, le point de morphing le plus proche est automatiquement sélectionné lorsque vous bougez la boule de la nappe Morph. Chapitre 14 Sculpture 409 Vous pouvez également cliquer dans les cercles autour de A, B, C, D ou Center pour sélectionner manuellement un point de la nappe Morph. Commandes du menu de la nappe Morph dans Sculpture Vous pouvez ouvrir le menu contextuel en cliquant sur la nappe Morph tout en appuyant sur la touche ctrl. Le menu contient les commandes copier, coller et échanger. • Copy selected Point : copie le point de morphing en cours dans le Presse-papiers de Sculpture. • Copy current Pad Position : copie l’état de morphing en cours dans le Presse-papiers de Sculpture. • Paste to selected Point: colle le contenu du Presse-papiers au niveau du pointsélectionné. • Exchange selected Point : permute les données copiées précédemment avec celles du point sélectionné. • Paste to all Points : colle le contenu du Presse-papiers au niveau de tous les points sélectionnés. Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture La fonction Randomize permet de créer des variations aléatoires pour les points de morphing sélectionnés. Alliée à la fonction copier/coller, la fonction de sélection aléatoire se sert de la nappe Morph comme générateur sonore automatique. L’utilisation de la nappe Morph peut générer des sons composites intéressants, hybrides du son original et ayant fait l’objet d’un morphing. Vous pouvez copier ce son hybride dans un ou plusieurs coins de la nappe Morph et lui appliquer des manipulations aléatoires, selon une amplitude définie. Le son « morphé » devient ensuite un nouvel élément timbral qui peut, à son tour, être déplacé vers les coins, subir une manipulation aléatoire, etc. En fait, ces manipulations reviennent à faire se « reproduire » un son, tout en maintenant un certain contrôle en sélectionnant les sons parents et enfants. 410 Chapitre 14 Sculpture Cette approche peut vous permettre de générer des sons nouveaux d’une grande complexité, sans que vous soyez un as de la programmation. Les paramètres suivants vous permettent de définir vos variations aléatoires. Curseur Intensity Boutons Point Bouton Randomize • Boutons Point : permet de sélectionner le nombre de points de morphing utilisés pour la manipulation aléatoire et indique quels seront les points qui en feront l’objet. • Lorsque le bouton du bas est activé, la manipulation aléatoire est limitée au point de morphing sélectionné. • Bouton Randomize : crée des valeurs aléatoires pour tous les paramètres des points de morphing choisis. • Curseur Int(ensity) : détermine l’intensité du processus de manipulation aléatoire, de 1 pour cent (légère déviation) à 100 pour cent (valeurs totalement aléatoires). Exemple de manipulation aléatoire 1 Sélectionnez le bouton Point souhaité (par exemple le bouton supérieur, à cinq points). 2 Vérifiez que la fonction Auto Select est activée. 3 Sélectionnez le curseur Int(ensity) et faites-le glisser jusqu’à une valeur d’environ 25 %. 4 Cliquez sur le bouton Rnd. Observez les paramètres du moteur de synthèse principal. Un certain nombre d’entre eux changent. 5 Faites glisser la boule de morphing vers chacun des coins de la nappe Morph. Pour ce faire, suivez les bords, puis repassez au centre de la nappe Morph ; notez l’incidence de ces déplacements sur le morphing. 6 N’oubliez pas de jouer quelques notes sur votre clavier MIDI pendant la procédure. Remarque : la boule de morphing n’est visible que lorsque le bouton Record Trigger est actif. Pendant que vous déplacez la boule de morphing, des commandes « fantômes » apparaissent dansla fenêtre Pickup et la boule de la nappe Materialse déplace également. Si vous regardez attentivement, vous remarquerez également un certain nombre de points rouges se déplaçant au niveau des paramètres de corde et d’objet. Chapitre 14 Sculpture 411 Chacun d’entre eux indique la position de morphing en cours. Ceci est très pratique pour voir quels paramètres ont été modifiés, et de quelle façon. Vous noterez également que les positions sur la nappe Morph qui tombent entre les différents points de morphing amènent les paramètres soumis à une manipulation aléatoire à effectuer des interpolations entre valeurs. Vous pouvez utiliser les commandes Copy et Paste pour vous servir de ces valeurs intermédiaires. Commandes du menu Sculpture Randomize Vous pouvez ouvrir le menu contextuel en cliquantsur le bouton Rnd tout en maintenant sur la touche ctrl enfoncée. Les commandes du menu déterminent quels paramètressont randomisés avec le bouton Rnd et le curseur Int. • Tousles paramètres pouvant être soumis à unmorphing : cette fonction permet d’obtenir des sons étranges, dans la mesure où tous les paramètres des groupes suivants font l’objet d’une manipulation aléatoire. Cela peut aussi aboutir à des résultats incontrôlés. En revanche, c’est moins utile par rapport à la notion de « reproduction sonore » évoquée à la rubrique Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture. • Tous, sauf TensMod : globalement, a le même rôle que « Tous les paramètres pouvant être soumis à un morphing », mais en excluant de la manipulation aléatoire le paramètre TensionMod. • String Material/Media : inclut dans la manipulation aléatoire la position dans la nappe Material, ainsi que les paramètres Stiffness, Inner Loss, Media Loss, Resolution et Tension Modulation. • Objets et capteurs: modifie la position des objets et des capteurs, ainsi que les différents paramètres d’objet, lors d’une manipulation aléatoire. • Waveshaper et filtres: modifie la position de tousles paramètres de filtre et Waveshaper, lors d’une manipulation aléatoire. 412 Chapitre 14 Sculpture Présentation de la fenêtre Morph Envelope dans Sculpture L’enveloppe de morphing comporte neuf points et huit segments et offre des fonctionnalités d’enregistrement ressemblant beaucoup à celles applicables aux enveloppes de contrôleur. Le point (orange) sélectionné dans le panneau inférieur (le plan de montage) correspond au point sélectionné sur la trajectoire du pavé Morph. • La durée globale de l’enveloppe de morphing est indiquée par l’entrée numérique située en haut à droite de la fenêtre. • La durée maximale de l’enveloppe de morphing est de 48 mesures/40 secondes. • Les lignes formant la grille en arrière-plan sont espacées de 100 ms. • Si vous cliquez sur les poignées(nœuds) ou sur leslignesséparant les nœuds, le segment d’enveloppe correspondant passe en surbrillance. Un petit message d’aide indique la durée, en millisecondes, du segment en question. • Lorsque vous déplacez le curseur le long de la ligne ou sur les nœuds, le segment d’enveloppe en cours apparaît en surbrillance. • Vous pouvez créer vos propres enveloppes manuellement, en intervenant directement sur les nœuds et leslignes, ou bien enregistrer une enveloppe (consultez Enregistrement des enveloppes de morphing dans Sculpture). Pour modifier le temps entre les nœuds µ Faites glisser la poignée souhaitée versla gauche ou la droite. Ce faisant, la durée générale de l’enveloppe de morphing change et tous les nœuds suivants sont décalés d’autant. Vous ne pouvez pas déplacer un nœud au-delà de la position du nœud précédent. Vous pouvez en revanche déplacer des nœuds au-delà de la position du nœud suivant, y compris au-delà du côté droit de la fenêtre de l’enveloppe, ce qui rallonge à la fois le segment de l’enveloppe et l’enveloppe globale. Chapitre 14 Sculpture 413 Remarque : la nappe Morph de Sculpture affiche un point mobile qui indique la position actuelle du morphing sur un son joué de façon monophonique. La ligne rouge dans la Timeline située en dessous de la nappe Morph affiche la position temporelle courante. Utilisation des paramètres Morph Envelope dans Sculpture La section suivante détaille les paramètres de l’enveloppe de morphing. Bouton Record et menu Trigger Boutons Mode et menu Pad Mode Champ Time Scale Menu Sustain Mode Boutons Sync/ms Potentiomètre Depth Potentiomètre Transition Potentiomètre Modulation et menu Source • BoutonsMode etmenu PadMode : activent l’enveloppe de morphing et vous permettent de choisir un mode. Consultez Sélection du mode Morph Envelope dans Sculpture. • Champ Time Scale : permet d’étalonner la durée globale de l’enveloppe par un facteur compris entre 10 et 1 000 pour cent. • Menu Sustain Mode : définit le comportement de l’enveloppe de morphing lorsqu’une note est maintenue. Les options de ce menu sont le mode Sustain, le mode Finish, l’un des trois modes de mise en boucle (Loop Forward, Loop Backward, Loop Alternate) et le mode Scan via CtrlB. Consultez Sélection du mode Morph Envelope Sustain ou Loop dans Sculpture. • Bouton Record et menu Trigger Mode : ces options permettent de préparer l’enveloppe pour l’enregistrement et de définir le type d’événement qui déclenche l’enregistrement. Consultez Enregistrement des enveloppes de morphing dans Sculpture. • Boutons Sync et ms : permettent de sélectionner une enveloppe tournant librement (les durées des segments étant alors affichées en millisecondes) ou une enveloppe synchronisée sur le tempo, tenant compte de valeurs de notes, telles que 1/8 ou 1/4. Remarque : le passage d’une valeur à l’autre déclenche un nouveau calcul des valeurs, arrondies à la durée en ms ou à la valeur de note la plus proche, en fonction du tempo en vigueur dans le projet. • Potentiomètre Depth : permet d’étalonner l’amplitude du mouvement de morphing provoqué par l’enveloppe de morphing. L’effet du paramètre Depth apparaît sous forme visuelle sur la nappe Morph. À mesure que vous augmentez ou réduisez la valeur, la trajectoire de morphing est étalonnée. 414 Chapitre 14 Sculpture • Potentiomètre Modulation et menu Source : permettent de sélectionner une source et une amplitude de modulation, dont les valeurs conditionnent ensuite le mouvement de l’enveloppe de morphing. • Potentiomètre Transition : permet de gérer les transitions entre les points de morphing. Il peuts’agir du mouvement original (qui peut être enregistré) ou une transition linéaire ou par étapes. Avec cette dernière option, le paramètre reste à un certain état de morphing, puis passe brutalement à l’état de morphing défini pour le point d’enveloppe suivant. Ce paramètre (ainsi que l’enveloppe de morphing elle-même) permet de concevoir des sons intéressants, évolutifs ou même des sonorités rythmiques. Sélection du mode Morph Envelope dans Sculpture Les boutons Mode activent l’enveloppe de morphing et vous permettent de choisir l’un des modes suivants : • Position Off pour les deux boutons : la fonction Morph est désactivée. • Pad only : l’enveloppe est désactivée et la fonction de morphing est contrôlée par la boule Morph ou les contrôleurs MIDI X/Y uniquement. • Env only : l’enveloppe est fonctionnelle, mais la boule Morph et les contrôleurs MIDI X/Y sont désactivés. • Env + Pad : l’enveloppe est fonctionnelle et la position de la boule Morph ou des contrôleurs MIDI X/Y est utilisée comme décalage pour les éventuels mouvements d’enveloppe. • Bouton Offset : en mode Env + Pad, cliquez sur le bouton Offset (à côté des boutons de mode) pour choisir l’un des éléments de menu suivants : • Offset : mode par défaut, dont le comportement est identique à celui du mode Env+Pad : l’enveloppe est fonctionnelle et la position de la boule Morph ou des contrôleurs MIDI X/Y est utilisée comme décalage pour les éventuels mouvements d’enveloppe • Point Set : l’enveloppe est en cours d’exécution. Le point d’enveloppe sélectionné peut être édité en déplaçant la boule Morph ou à l’aide d’un contrôleur MIDI (assignations de contrôleurs MorphX et MorphY). • Point Solo : l’enveloppe se trouve dans un mode de fonctionnement « figé » (instantané). Le point d’enveloppe sélectionné peut être édité en déplaçant la boule Morph. Chapitre 14 Sculpture 415 Sélection du mode Morph Envelope Sustain ou Loop dans Sculpture Vous avez le choix entre différentes options : mode Sustain, mode Finish, trois modes de mise en boucle (Loop Forward, Loop Backward, Loop Alternate) et mode Scan via CtrlB. Lorsque vous utilisez l’un des modes de boucle, la boucle se répète toujours entre des poignées d’enveloppe de type boucle ou Sustain, les nœuds indiqués par les petites icônes L et S. L’enveloppe de morphing peut, comme n’importe quelle enveloppe, fonctionner en mode Trigger unique, c’est-à-dire en exécution normale tant que la note est tenue. Vous pouvez également l’exécuter plusieurs fois ou en une boucle infinie, un peu comme un LFO. Pour ce faire, vous devez utiliser des boucles. Prise en main Loop Prise en main Sustain Vous pouvez saisir et repositionner les poignées(petitesicônes « L » et « S ») correspondant aux points de boucle et de soutien. N’oubliez pas que ce faisant, vous risquez de modifier la durée de la boucle (et la durée globale de l’enveloppe Morph). Le comportement des modes de boucle est tel que décrit ci-dessous : • Finish : l’enveloppe est exécutée une seule fois du début à la fin, même si la note est relâchée avant que l’enveloppe n’arrive à sa fin. Tous les autres paramètres de boucle sont également désactivés. • Forward : l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’avant. • Backward : l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’arrière. 416 Chapitre 14 Sculpture • Alternate : l’enveloppe va jusqu’au point de soutien et revient au point de boucle, puis repart jusqu’au point de soutien, périodiquement. Elle est donc exécutée de façon alternée en avant et en arrière. • Scan via CtrlB : la position du plan de montage dans l’enveloppe est déconnectée du temps réel, ce qui vous permet de scanner l’intégralité de l’intervalle de temps en utilisant le contrôleur MIDI attribué à Ctrl B (dans la section MIDI Controller Assign). Astuce : vous pouvez également faire glisser le marqueur rouge de position temporelle. Remarque : si l’un des trois modes de bouclage est sélectionné et que le point de boucle est placé avant le point de soutien, la boucle sera active jusqu’à ce que vous relâchiez la touche. Aprèsrelâchement de la touche, l’enveloppe continue au-delà du point de soutien, comme à l’accoutumée. Si le point de boucle est positionné après le point de soutien, la boucle est activée dès que la touche est relâchée et sera répétée indéfiniment jusqu’à ce que la voix complète ait terminé la phase de relâchement du générateur d’enveloppe d’amplitude. Enregistrement des enveloppes de morphing dans Sculpture La rubrique suivante détaille les étapes à suivre pour enregistrer une enveloppe de morphing. Pour enregistrer une enveloppe de morphing 1 Sélectionnez un mode Trigger (voir ci-dessous), si vous ne souhaitez pas utiliser la nappe Morph. 2 Appuyez sur le bouton R(ecord) Enable pour activer (armer) la fonction d’enregistrement de l’enveloppe de morphing. 3 Jouez une note sur votre clavier MIDI, puis effectuez l’une des opérations suivantes : a Faites glisser la boule argentée dans la nappe Morph. b Déplacez un contrôleur externe (consultez Affectation de contrôleurs MIDI dans Sculpture). Après l’enregistrement d’un mouvement de contrôleur, R(ecord) Enable est réglé automatiquement sur Off et Mode est défini sur Env only. Cela garantit que seul le mouvement enregistré sera actif, quelle que soit la position du contrôleur et les mouvements effectués une fois l’enregistrement terminé. Chapitre 14 Sculpture 417 Remarque : le mode revient par défaut sur (Morph) Pad, dès que vous cliquez sur le bouton R (pour plus d’informations sur les modes, consultez Utilisation des paramètres Morph Envelope dans Sculpture). Pour choisir un mode Trigger de l’enregistrement µ Cliquez sur le menu situé à droite du bouton R et sélectionnez l’un des modes de déclenchementsuivants, qui permet de lancer l’enregistrement lorsque le bouton R(ecord) Enable est actif : • NoteOn : l’enregistrement commence dès que vous jouez une note. • Note + Move Morph Point : l’enregistrement démarre lorsque les messages de changement de contrôle MIDI (tels qu’ils ont été affectés dans les paramètres Morph X et Y de la section MIDI Controller Assign) arrivent lorsqu’une note est maintenue. • Note+Sustain Pedal : l’enregistrement commence lorsque la pédale Sustain est enfoncée et qu’une note est maintenue. Pour arrêter un enregistrement Procédez de l’une des manières suivantes : µ Cliquez sur le bouton (ou le déclencheur) R(ecord) Enable une seconde fois. µ Relâchez toutes les touches et laissez l’ensemble des voix terminer leur phase de chute. Cela met automatiquement fin à l’enregistrement. Remarque : vous pouvez aussi arrêter l’enregistrement plus tôt, avant la chute ; pour ce faire, il suffit de relâcher toutes les touches, puis d’appuyer sur une seule touche. Affectation de contrôleurs MIDI dans Sculpture La barre inférieure de l’interface Sculpture permet de définir les contrôleurs MIDI que voussouhaitez par exemple utiliser pour contrôler l’intensité du vibrato ou les mouvements de la nappe Morph. Vous pouvez utiliser n’importe quel contrôleur MIDI indiqué dans les menus pour ces sources de contrôle. Ces paramètres sont enregistrés avec chaque réglage. Ils ne sont mis à jour que si le réglage par défaut (celui chargé lorsque vous lancez le module) est utilisé ou si le réglage a été sauvegardé avec un projet. Cette approche vous aide à adapter tous les contrôleurs MIDI au clavier, sans devoir modifier et enregistrer chaque réglage séparément. • Menu Vib Depth Ctrl : définit le contrôleur MIDI utilisé pour contrôler l’intensité du vibrato. 418 Chapitre 14 Sculpture • Menus Ctrl A et Ctrl B : permettent d’affecter deux contrôleurs qui peuvent servir pour les modulations latérales ou comme sources de modulation via, définies dans l’onglet de routage de modulation CtrlA et CtrlB. • Menus CtrlEnv 1 et CtrlEnv 2 : définissent les affectations de contrôleur pour les deux enveloppes de contrôle (utilisées en tant que signal de modulation ou décalage) dans les cas où les enveloppes de contrôle sont définies sur les modes Ctrl only ou Ctrl+Env. Ilsservent également à définir la source pour enregistrer les mouvements de contrôleur. • Menus Morph X et Morph Y : déterminent les affectations de contrôleur pour les coordonnées X et Y de la nappe Morph. Une fois affecté, le contrôleur peut être utilisé pour déplacer manuellement le point de morphing, programmer un à un des points d’enveloppe de morphing, décaler globalement l’enveloppe de morphing ou faire office de source pour l’enregistrement de mouvements de morphing. • MenuMode : détermine si les affectations de contrôleur MIDI proviennent d’un réglage donné ou restent inchangées, lors du chargement d’un réglage. Le basculement d’un mode à l’autre permet de passer des affectations originales, enregistrées avec le réglage, aux affectations par défaut (extraites du fichier de réglage #default.pst qui, s’il existe, est chargé lors du lancement de Sculpture). Pour assigner un contrôleur µ Ouvrez le menu de commande souhaité etsélectionnez le nom ou le numéro du contrôleur à utiliser dans la liste. Pour apprendre une affectation de contrôleur via MIDI 1 Ouvrez le menu de contrôle souhaité et sélectionnez l’option -Learn-. 2 Déplacez le contrôleur souhaité sur votre contrôleur ou clavier MIDI. Remarque : si aucun message MIDI approprié n’est reçu dans les 20 secondes, le contrôle sélectionné rétablit l’assignation/la valeur précédente. Guide d’initiation à Sculpture : premiers contacts avec la création de sons Cette section contient des informations qui vous aideront lors de vos premiers pas vers la création de sons dans Sculpture. La création de types de son spécifiques, parmi les sons de base de l’instrument, est évoquée dans plusieurs rubriques. Consultez Guide d’initiation à Sculpture : création de sons de base. Pour en savoir plussur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Chapitre 14 Sculpture 419 La souplesse du moteur de synthèse de Sculpture autorise une grande diversité d’approches de la conception sonore. • Si vous aimez créer un son en partant de zéro, paramètre par paramètre, c’est possible. • Si vous préférez tirer parti desfonctions de morphing de Sculpture pour créer dessons, c’est également possible. Consultez Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture. • Si vous préférez retravailler des sonorités préexistantes, alors les paramètres qui ont une incidence sur l’intégralité de l’instrument vousintéresseront davantage, notamment les sections Body EQ et Filter, ainsi que les modulateurs, par exemple. Quelle que soit votre préférence en la matière, vous pouvez obtenir desrésultats nouveaux et intéressants. Procédez à des expérimentations et familiarisez-vous avec chaque approche. Vous vous apercevrez que chacune possède des points forts et des faiblesses, et qu’il faut parfois combiner plusieurs méthodes pour obtenir un résultat qui vous convient. Utilisation des réglages par défaut dans Sculpture Lorsque vous programmez un son dans Sculpture « en partant de zéro », la meilleure approche consiste à travailler séparément sur chaque composante du son. Bien entendu, lorsque vous commencez à travailler avec Sculpture, vous ne connaissez pas bien l’impact de chacun des paramètres sur les résultats finaux. Ne vous inquiétez pas, d’autressections de ce guide d’initiation vousfourniront desindicationssur la création de chaque type de son particulier. Tout d’abord, vous avez besoin d’un réglage de base. Vous obtenez cette sonorité lorsque vouslancez Sculpture pour la première fois, autrement dit un jeu par défaut de paramètres neutres. Cette sonorité n’a bien sûr rien de renversant : son seul but est de vous fournir un point de départ pour tous les exemples de création sonore de ce chapitre. Cette sonorité est enregistrée en tant que fichier de réglages « #default ». Nous vous conseillons d’enregistrer une copie de ce réglage dès maintenant. Pour enregistrer un réglage par défaut µ Ouvrez le menu Settings et sélectionnez Save Setting As, saisissez le nom de votre choix (par exemple, « neutre » ou « standard »), puis cliquez sur Save. Vous pouvez le recharger en passant d’un exemple à l’autre. Découverte de la corde dans Sculpture La corde est l’élément de synthèse central de Sculpture ; elle est responsable de la tonalité de base de votre son. Elle propose différents paramètres qui vous permettent d’en modifier l’aspect matériel (matériau de fabrication) et dans quel environnement elle est jouée (eau, air, etc.). 420 Chapitre 14 Sculpture Astuce : avant de commencer, cliquez sur la corde (ligne horizontale verte se trouvant dans la section Pickup) tout en appuyant sur la touche ctrl, puis cliquez sur Enable String Animation. Lorsque l’animation est activée, la corde vibre dès que vous jouez une note, ce qui permet de visualiser plus facilement l’impact des objets et des capteurs. Bouton Keyscale Bouton Release Curseur Media Loss Curseur Tension Mod Curseur Resolution Curseur Keyscale Curseur Keyscale Curseur Keyscale Boule Pour définir une tonalité de base 1 Cliquez sur le bouton Keyscale situé dans la partie inférieure de l’anneau de la nappe Material. 2 Sur votre clavier, jouez et maintenez enfoncé le Do central ou jouez-le de façon répétée. Cette hauteur musicale de Do central correspond à la hauteur par défaut de la corde. 3 Tout en appuyant sur le C (Do) central, faites glisser la boule autour de la nappe Material. Écoutez les variationssonoreslorsque vous passez d’un matériau à un autre : Nylon, Wood, Steel et Glass. Observez la corde (la ligne horizontale verte dans la fenêtre Pickup, sur la gauche) pendant l’opération. 4 Relâchez le bouton de la souris une fois que vous avez trouvé une tonalité de base qui vous plaît. Pour modifier les propriétés de la corde 1 À présent, testez les valeurs de chacun des curseurs situés autour de la nappe Material, à savoir les paramètres Media Loss, Tension Mod et Resolution, tout en continuant à jouer le C (Do) central. Notez les changements apportés par chaque paramètre au son et à l’animation de la corde, dans l’affichage Pickup. Jouez quelques notes au-dessus et en dessous du Do central, là encore tout en observant la corde. Chapitre 14 Sculpture 421 2 Vous avez probablement remarqué que le déplacement des curseurs Media Loss, Tension Mod et Resolution avait également une incidence sur les curseurs Keyscale de couleur grise et bleue, à l’intérieur et à l’extérieur de l’anneau. Faites glisser dans différentes positions chacune des pointes de flèche de ces curseurs Keyscale, une par une, tout en jouant quelques notes de part et d’autre du C (Do) central. Écoutez bien les changements apportés en haut ou en bas du clavier. 3 Une fois que vous avez terminé, cliquez sur le bouton Release situé dansla partie inférieure de l’anneau de la nappe Material, puis ajustez le curseur bleu Media Loss Release pendant que vous jouez des notes. Découverte des objets dans Sculpture Vous pouvez utiliser jusqu’à trois objets de types différents pour exciter ou perturber la vibration de la corde. • Avant de commencer, cliquez sur la corde (ligne horizontale verte se trouvant dans la section Pickup) tout en appuyant sur la touche ctrl, puis cliquez sur Enable String Animation. Lorsque l’animation est activée, la corde vibre dès que vousjouez une note, ce qui permet de visualiser plus facilement l’impact des objets et des capteurs. Pour découvrir les objets dans Sculpture 1 Rechargez le fichier de réglage « #default » (ou votre réglage standard), en sélectionnant Reset Setting dans le menu Settings. 2 Cliquez sur le bouton Object 1 pour le désélectionner, tout en appuyant de manière répétée sur une touche. Le son s’arrête lorsque Object 1 est désélectionné. La corde elle-même ne produit pas de son, sauf si elle est stimulée par au moins un objet. Cliquez à nouveau sur le bouton pour le réactiver. 3 Ouvrez le menu local Type de l’objet 1, puissélectionnez chaque élément de menu.Jouez une note de façon répétée lors de votre sélection, afin de mieux entendre l’influence de chaque type d’objet sur la corde. Encore une fois, observez l’animation de la corde. Notez que l’objet 1 peut utiliser des types excitation uniquement. L’objet 2 peut utiliser des types excitation et atténuation. L’objet 3 peut utiliser des types atténuation uniquement. 4 Réglez le potentiomètre Strength en le faisant glisser verticalement pour obtenir des variations de grande ampleur ou horizontalement pour desréglagesfins. Ce faisant, jouez une note de façon répétée. 5 Faites glisser les pointes de flèches Timbre et VeloSens en différentes positions tout en appuyant sur une touche, afin d’entendre les modifications ainsi apportées. 6 L’impact du paramètre Variation est différent pour chaque type d’objet. N’hésitez pas à tester ces effets également. 422 Chapitre 14 Sculpture 7 Essayez chacun des réglages disponibles dans la section Gate. Potentiomètres/contrôles des trois objets de corde, avec la section Pickup à gauche au centre. Découverte de la section Pickup dans Sculpture La vibration de la corde est recueillie par deux capteurs mobiles. La section Pickup contient également trois curseurs d’objet, qui permettent de définir la position de chaque objet sur la corde. Objets Objets Curseur Pickup A Curseur Pickup B Pour changer la position des objets sur la corde 1 Rechargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Faites glisser le capteur Object 1 vers la gauche ou la droite, tout en appuyant sur une touche. Notez que toute modification de la position du capteur d’objet change les caractéristiques du son émis par la corde. 3 Ajustez la valeur du paramètre Strength de l’objet 1 pour mieux entendre ce qui se passe ou réglez la tonalité comme vous le souhaitez. Vous pouvez également utiliser les paramètres Timbre et Variation de l’objet 1 afin de modifier la tonalité. Chapitre 14 Sculpture 423 4 N’hésitez pas à ajuster la position et les paramètres des autres objets, s’ils sont activés. Pour changer la position des capteurs sur la corde µ Faites glisser les curseurs Pickup A et Pickup B. Notez que toute modification de la position des capteurs induit des vibrations et une qualité tonale différentes au niveau de la corde. Si vous souhaitez augmenter le volume global, ajustez le potentiomètre Level situé dans la partie droite de l’interface Sculpture, en regard de la section Pickup. Compréhension des interactions corde/objet dans Sculpture Comme vous êtes probablement en train de le découvrir, chaque paramètre a une incidence sur la tonalité globale émise par la corde et, plus encore, sur l’interaction de la corde avec d’autres paramètres. Chaque paramètre introduit ou dont la valeur est modifiée a une incidence sur la corde modélisée, ce qui, en retour, modifie l’interaction de chaque paramètre avec la corde modélisée. Ainsi, vous devrez sans doute remodifier lesréglages des paramètres de l’objet 1 une fois que vous aurez activé l’objet 2. De façon générale, ces ajustements ultérieurs restent modérés : le plus souvent, il suffit d’intervenir légèrement sur les paramètres Strength ou peut-être sur la position des capteurs de chaque objet, par exemple. Ce sont ces paramètres qui ont la plus grande incidence sur la tonalité et le niveau des objets. Vous devez donc y être attentif si l’activation de l’objet 2 provoque un changement de timbre intempestif dans votre son. Pour apporter des variations subtiles aux objets, utilisez les potentiomètres Timbre et Variation. Contrairement aux changements radicaux, des modifications légères permettent de conserver la tonalité globale de la corde et de l’objet 1, tout en introduisant un nouvel élément grâce à l’objet 2. Découverte des autres paramètres de traitement dans Sculpture Les capteurs envoient le signal à la section de traitement, qui se compose d’une zone d’amplitude avec ADSR (à droite de la nappe circulaire Material au centre), d’un Waveshaper avec types de courbe de mise en forme de l’onde sélectionnables(au-dessus de la nappe circulaire Material) et d’un filtre multimode (en dessous de la nappe Material). Tous les éléments décrits jusqu’ici existent voix par voix. Tous les signaux de voix provenant des capteurs sont additionnés, puis traités par un effet Delay intégré (tout en haut à droite de la nappe circulaire Material). De là, le signal est envoyé vers un module de type égaliseur (Body EQ, tout en bas à droite de la nappe Material), qui simule globalement la réponse spectrale forme ou corps de votre instrument. Vous avez le choix entre plusieurs types de corps d’instruments. Le signal obtenu est alors transmis vers une section Level/Limiter (tout à droite). 424 Chapitre 14 Sculpture Astuce : n’hésitez pas à expérimenter ces différents paramètres, en utilisant à chaque fois le fichier de réglage « #default » (ou votre réglage standard). Cela vous permettra de vous faire une impression de chaque paramètre et de son incidence sur les sons que vous entendez. Tous les autres paramètres des portions inférieures de l’interface Sculpture (Modulation, Morph, Envelope et Controller Assignments) ne font pas partie du moteur de synthèse, bien qu’ils aient aussi une incidence sur ce dernier. Guide d’initiation à Sculpture : création de sons de base Cette section aborde la création de diverstypes de sons de base : orgues, basses, guitares, etc. Elle réunit un ensemble d’indications, de conseils, d’astuces et d’informations destinés à vous aider dans la création de types de sons particuliers dans Sculpture. Pour en savoir plussur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Le but est de vous fournir un point de départ pour vos propres expérimentations et de vous présenter différentes approches pour créer des sons avec Sculpture. À mesure que vous vous familiariserez avec Sculpture et avec la modélisation de composantes, vous vous apercevrez qu’il existe plusieurs façons de parvenir à un même résultat final. Autrement dit, chaque composante du son peut être modélisée en utilisant les divers paramètres et techniques disponibles. Cette approche flexible vous permet, par exemple, de créer un son de cuivre de plusieurs façons : à l’aide du Waveshaper comme élément tonal principal dans un son unique ou avec le filtre et l’outil Body EQ pour simuler la même composante sonore dans un autre son. Une bonne compréhension des propriétés physiques de l’instrument que vous souhaitez imiter est un avantage. Bien que vous puissiez faire des recherches sur Internet pour obtenir ce type de connaissancesspécialisées, vous pouvez observer l’approche générale présentée ci-dessous dans la majorité des tâches de création sonore réalisées dans Sculpture. Comment l’instrument génère-t-il le son ? • Est-ce une corde qui vibre et fait entrer en résonance un corps (comme sur une guitare ou un violon) ? • Est-ce une colonne d’air qui vibre dans un tuyau (flûte ou trompette) ? • Est-ce un objet solide qui est frappé, causant ainsi des vibrations (bloc de bois) ? • Est-ce un objet creux qui est frappé, causant ainsi des vibrations ou un phénomène de résonance (cloche ou tambour) ? Chapitre 14 Sculpture 425 De quoi est fait l’instrument ? Pour répondre à cette question, ne vous limitez pas au corps de l’instrument. Prenez également en compte le matériau de fabrication des cordes (nylon ou acier sur une guitare), voire aussi l’épaisseur et le matériau de l’anche dans le cas d’une clarinette ou d’un hautbois, la présence d’une sourdine pour une trompette, etc. L’instrument est-il polyphonique ou monophonique ? Il s’agit là d’un facteur important, en étroite relation avec la question suivante sur la manière dont l’instrument est joué. Certaines différences entre les instruments monophoniques et polyphoniques sont évidentes, par exemple l’impossibilité de jouer des accords sur une flûte. Il existe toutefois d’autres différences plus subtiles, comme l’interaction entre une corde modélisée et toute autre corde active. Bien entendu, cela ne peutse produire avec un instrument comme la flûte, qui ne produit qu’une seule note. Comment joue-t-on de cet instrument ? Autrement dit, faut-il le jouer à l’archet,souffler dedans, le frapper ou en pincer les cordes? Existe-t-il d’autres éléments qui font partie du son de l’instrument ? • Modification de la pression des lèvres et de la position de la bouche dans le cas des cuivres et des instruments à vent. • Bruits de souffle ou mécaniques. • Changements provisoires de hauteur tonale, par exemple lorsque vous appuyez avec vos doigts sur la frette ou si vous pincez une corde. • Changements provisoires de timbre ou de niveau, par exemple lorsqu’un joueur de cuivre arrive à bout de souffle ou s’amuse avec les pistons. Une fois que vous avez établi, mentalement ou sur papier, votre liste de propriétés, essayez d’imiter chacune des composantes contribuant au caractère du son. C’est là tout l’intérêt de la synthèse par modélisation de composantes. Avant de commencer, il faut rappeler que les exemplessuivants ne constituent justement que de simples exemples. Il existe bien sûr de nombreuses façons de modéliser chaque composante d’un son. • Faites des essais avec les paramètres proposés afin de créer vos propres versionssonores et n’hésitez pas à utiliser vos propres valeurs de paramètre si cellesfournies ne satisfont pas votre conception du son de basse idéal. • Des modificationssubtiles, notamment dansle cas de paramètres Keyscale (suivi clavier), donnent des sons plus contrôlés. Prenez votre temps et essayez toutes les possibilités lorsque vous suivez ces exemples. • Vous pouvez utiliser les réglages par défaut ou ceux d’autres utilisateurs comme point de départ pour vos propres sons ou comme objet d’étude. En étudiant les paramètres existants, vous découvrirez comment le son a été créé. Activez et désactivez les différents paramètres pour découvrir comment ils fonctionnent. 426 Chapitre 14 Sculpture Amusez-vous et n’hésitez pas à prendre des risques, Sculpture est incassable ! Création de sons de basse dans Sculpture La création de sons de basse dans Sculpture est une opération très simple. Pour créer un son de basse 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Ouvrez le menu local Transpose, situé dans la partie supérieure de l’interface, puis sélectionnez le paramètre +1 Oct. et jouez quelques notes autour de C2 (Do2). Vous remarquerez que la couleur sonore globale d’une basse acoustique est déjà là. 3 Vous pouvez tout à fait faire glisser la boule de la nappe Material vers l’entrée Nylon, mais avant cela, ouvrez le menu local Type de l’objet 1 et sélectionnez Pick. 4 Jouez quelques notes sur le clavier et, ce faisant, ajustez la position de la boule. 5 Occupez-vous ensuite des paramètres Strength, Variation, Timbre et VeloSens de l’objet 1. Réglez chacun d’eux selon vos besoins. 6 Vous pouvez également, si vous le souhaitez, régler le paramètre Release de l’enveloppe d’amplitude (curseur R vertical dans la section droite de la nappe circulaire Material). 7 Pour ajouter un tonalité « bois » à votre son de basse, déplacez vers la droite la position du capteur pour l’objet 1 (faites glisser le curseur #1 dans la section Pickup, située à gauche de l’interface). Au niveau des positions extrêmes (tout à gauche ou tout à droite), le grave de la basse s’efface. Essayez ! 8 À présent, réglez la position des capteurs PickupA et Pickup B en faisant glisser les curseurs horizontaux. Comme vous pouvez le constater, il est facile de recréer rapidement un son de basse acoustique ou électrique jouée au médiator. 9 Pour obtenir instantanément un son de basse de synthétiseur hybride (ou entier), cliquez sur le bouton Waveshaper (situé juste au-dessus de la nappe circulaire Material), ouvrez le menu local Type au-dessus et sélectionnez l’un des types proposés. 10 Utilisez la commande Save Setting As du menu Settings pour enregistrer au fur et à mesure vos réglages, sous le nouveau nom choisi. Il vous suffira sans doute de quelques minutes pour créer plusieurs sons de basse intéressants. Chacun d’eux peut être utilisé tel quel ou comme modèle pour vos futurs sons de basse. Création de sons de cloche dans Sculpture À un niveau basique, les sons de cloche sont assez faciles à obtenir avec Sculpture. Pour obtenir des sons de cloches réellement intéressants, quelques efforts supplémentaires de recherche sont nécessaires, mais c’est l’évolution de la richesse harmonique et du désaccord lors de la phase de chute/relâchement qui font toute la différence. Pour créer un son de cloche 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). Chapitre 14 Sculpture 427 2 Ouvrez le menu local Type de l’objet 1, puis sélectionnez Strike. 3 Faites glisser la boule de la nappe Material jusqu’en bas, puis placez-la à mi-chemin entre les entrées Steel et Glass. Si vous jouez quelques notes, vous vous apercevrez que le son obtenu ressemble déjà bien à celui d’une cloche. 4 Ensuite, faites glisser le curseur Media Loss presque totalement vers le bas. Là encore, jouez quelques notes et vous vous apercevrez que la phase de relâchement du son est beaucoup plus longue. 5 Faites glisser le curseur Resolution complètement à droite. 6 Faites glisser le curseur de capteur Pickup A jusqu’à mi-course environ (0,48). 7 Faites glisser la position du capteur de l’objet 1 jusqu’à une valeur de 0,10. Le son de cloches devient alors plus intéressant… jouez quelques notes pour vous en convaincre. 8 Cliquez à présent sur bouton Delay situé dans le coin supérieur droit de la fenêtre, pour activer l’unité Delay. 9 Cliquez sur le bouton Sync situé en bas de la section Delay et faites glisser le curseur Delay Time jusqu’à une valeur de 20 ms. 10 Réglez le potentiomètre Wet Level sur 66 pour cent. 11 En bas à droite, cliquez sur le bouton Body EQ pour l’activer. Assurez-vous que l’option Lo Mid Hi est sélectionnée dans le menu local Model. 12 Réglez le potentiomètre Low sur 0,55, le potentiomètre Mid sur 0,32 et le potentiomètre Hi sur 0,20. 13 À ce stade, vous avez un son de cloche en bonne et due forme, mais vous vous apercevrez probablement qu’il y a un problème d’accord, particulièrement lorsque vous descendez en dessous de C3 (Do3). Cette approche de programmation a été choisie parce que les harmoniques du son sont plus facilement repérables une fois que tous les autres paramètres ont été réglés. La solution au problème d’accord évoqué précédemment réside principalement dansles paramètres de suivi clavier (Keyscale) Inner Loss et Stiffness. Pour les régler, sélectionnez d’abord le bouton Keyscale, puis faites glisser vers le haut ou vers le bas la ligne horizontale verte située à l’intérieur de la nappe Material, pour les notes graves, ou la ligne horizontale bleue, pour les notes aiguës. 14 Utilisez la commande Save Setting As du menu Settings pour enregistrersous un nouveau nom vos réglages, qui serviront de base pour vos nouveaux sons de cloche ou pour votre prochain album de Noël ! 428 Chapitre 14 Sculpture Création de sons de cuivre dans Sculpture Les instruments de type cuivres ont la réputation, justifiée, d’être difficiles à recréer de façon électronique. Placés entre des mains expertes et avec des banques de sons de qualité, les échantillonneurs s’en tirent plutôt bien, mais il leur manque cette chaleur organique caractéristique des vrais instrumentistes. Il s’agit d’une sonorité de cuivres plutôt simple et générique, que vous pouvez jouer comme instrument solo ou comme section de cuivres. Pour créer un son de cuivre générique 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le type de l’objet 1 sur Blow. 3 Activez l’objet 2 et définissez son type sur Noise. 4 Ajustez le paramètre Strength de l’objet 1 à environ 0,90. 5 Définissez le paramètre VeloSens de l’objet 1 à environ 0,30. 6 Faites glisser la boule de la nappe Material jusqu’à une position située dans la diagonale définie par le « I » d’Inner Loss et le « l » du mot Steel, puis jouez un C (Do) central. Le son devrait déjà bien évoquer les cuivres. 7 À présent, jouez le E (Mi) au-dessus du C (Do) central : le son évoque un hybride entre une mandoline et une sonnerie de téléphone. 8 Faites glisser le curseur Resolution vers la gauche ou vers la droite tout en jouant le C (Do) central et quelques notes, sur une octave vers le bas environ. Vous découvrirez alors une gamme de sons couvrant une palette très étendue, dessitars aux flûtes, en manipulant simplement ce paramètre. 9 À présent, cliquez sur le bouton Keyscale et, tout en montant/descendant sur le clavier, réglez séparément les valeurs du curseur Resolution et des curseurs Resolution Low/High Keyscale jusqu’à ce que la région du clavier que vous souhaitez jouer (disons environ une octave autour du C (Do) central) ne souffre plus de ces artefacts de type mandoline/téléphone. Assurez-vous de ne pas perdre la sonorité de cuivres. 10 Modifiez la position du capteur Pickup A jusqu’à atteindre environ 77 %. 11 Activez le Waveshaper et sélectionnez le type Scream. Réglez les valeurs des paramètres Input Scale et Variation selon vos besoins. 12 Activez le filtre. Sélectionnez le mode HiPass et réglez les paramètres Cutoff, Resonance et autres selon vos besoins. (Vous pouvez par exemple utiliser la valeur 0,30 pour Cutoff et 0,41 pour Resonance.) 13 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pouvez la décliner un grand nombre de variantes : trompette en sourdine, cor d’harmonie, voire sitars ou flûtes. Chapitre 14 Sculpture 429 Pour apporter des modifications approfondies à votre son de cuivre µ Utilisez le Waveshaper pour modifier votre son de manière plus radicale. µ Servez-vous de l’option Delay pour émuler un espace dans lequel jouer votre instrument. µ Utilisez l’égaliseur Body EQ pour atténuer les graves et accentuer les médiums et les aigus. µ Faites glisser la boule de la nappe Material jusqu’à l’entrée Nylon pour voir en quoi cela affecte la nature de votre son. µ Sélectionnez Blow comme type pour l’objet 2, puis testez différentes positions pour les objets 1 et 2. C’est une autre façon d’obtenir des sons de cuivres différents. Création de sons de flûte dans Sculpture Observez cette approche comme base pour la plupart des instruments à vent : flûtes, clarinettes, shakuhachi, flûte de Pan, etc. Pour créer des sons de flûte 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Le mode Keyboard doit être réglé sur Mono, car les flûtes et les autres instruments à vent sont monophoniques. Une fois que vous avez configuré le réglage, procédez à des expériences avec ce paramètre tout en jouant, puis faites votre choix. 3 Définissez le type de l’objet 1 sur Blow. 4 Définissez le type de l’objet 2 sur Noise. 5 Définissez le paramètre Gate des deux objets sur Always. 6 Ajustez le paramètre Strength de l’objet 2 sur une valeur d’environ 0,25. 7 Ajustez le paramètre Velosens de l’objet 1 sur une valeur d’environ 0,33. 8 Placez la boule de la nappe Material dans une position située à la fin du texte Inner Loss et en dessous du mot Nylon. 9 Jouez quelques notes sur le clavier : vous devriez entendre un son proche de la flûte, mais avec un long relâchement, ce qui n’est pas idéal. Faites glisser le curseur Amplitude Envelope Release à la valeur 0,99 ms. 10 Le capteur Pickup A devrait être défini sur une valeur de 1,00 (extrémité droite). 11 Définissez la position du capteur de l’objet 1 sur 0,27 environ. 12 Définissez la position du capteur de l’objet 2 sur 0,57. 13 Ensuite, activez le Waveshaper et sélectionnez le type Tube-Like Distortion. 14 Jouez quelques notes et réglez les paramètres Waveshaper Input Scale et Variation comme vous le souhaitez (par exemple, essayez Input Scale = 0,16 et Variation 0,55). 15 Lorsque vous jouez des notes soutenues, vous remarquerez probablement l’absence de variations sonores intéressantes, typiques des sons de flûtes réels (dus aux changements survenant dans le souffle de l’instrumentiste, la position de ses lèvres, etc.). 430 Chapitre 14 Sculpture 16 Vous pouvez adopter plusieurs approches pour ajouter de l’intérêt au son soutenu. Citons par exemple l’utilisation du modulateur Vibrato (assigné à l’Aftertouch), ou bien l’enregistrement ou le dessin d’une enveloppe et le contrôle des paramètres Waveshape Input Scale via Velocity et/ou String Media Loss. Vous pouvez même utiliser le paramètre Loop Alternate du mode Sustain. N’hésitez pas à procéder à des expérimentations ! 17 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Création de sons de guitare dans Sculpture Ce réglage de base permet de créer dessons de guitare, de luth, de mandoline et d’autres instruments à cordes pincées (notamment les harpes). Pour créer un son de guitare 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Voices sur 6 (une guitare ne comporte que 6 cordes). Pour un banjo, choisissez 7 ; pour une harpe, le plus grand nombre possible. 3 Définissez le type de l’objet 1 sur Impulse, si cela n’est pas déjà le cas. 4 Activez l’objet 2 et définissez son type sur Pick. 5 Déplacez à présent le capteur Pickup A à l’extrémité droite. 6 Déplacez le capteur de l’objet 2 jusqu’à la valeur 0,14. 7 Activez l’égaliseur Body EQ et sélectionnez l’un des modèles Guitar. 8 Réglez les divers paramètres de Body EQ. Ils ont une incidence déterminante sur la brillance et la tonalité générales de votre son de guitare. Par exemple, essayez les paramètres Model Guitar 2, Intensity 0,46, Shift 0,38 et Stretch 0,20. 9 Définissez le paramètre Fine Structure sur une valeur entre 0,30 et 0,35, mais laissez vos oreilles en juger. 10 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé, puis faites-le glisser vers le haut pour augmenter la largeur subjective du son. Une valeur comprise entre 10 heures et 2 heures donne généralement de bons résultats. 11 Activez le filtre et sélectionnez le mode Lo Pass. 12 Réglez les paramètres Cutoff et Resonance selon votre goût (essayez une valeur de 0,81 pour les deux paramètres). 13 Faites glisser le curseur Tension Mod vers le haut, puis jouez sur le clavier pour juger de l’effet de désaccord momentané créé par ce paramètre. Définissez sa valeur de façon appropriée. 14 Définissez le mode Level Limiter sur Both. 15 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Chapitre 14 Sculpture 431 Vous remarquerez peut-être qu’une approche différente a été adoptée dans la création de ce réglage. Ceci est dû à l’impact majeur que le modèle choisi pour l’égaliseur Body EQ peut engendrer au niveau du son. Dans certains cas, comme celui-ci, il peut être préférable de travailler dans un ordre légèrement différent, plutôt que de suivre strictement le cheminement du signal. Pour créer d’autres sons de guitare µ Réglez les paramètres Object Strength, Timbre et Variation. µ Repositionnez la boule de la nappe Material pour créer une tonalité de guitare complètement différente. µ Utilisez le paramètre Delay ou Vibrato pour simuler le double pincement des cordes de mandoline. Création de sons d’orgue dans Sculpture Les sons d’orgues comptent parmi les plus faciles et les plus rapides à imiter dans Sculpture, puisqu’ilssont dépourvus de phase de relâchement. Cela simplifie grandement votre tâche, car vous n’avez pas besoin de régler les paramètres Keyscaling pour la tonalité de base. Vous pouvez toutefois le faire, ultérieurement, pour des routages de modulation ou des manipulations sonores spécifiques. Pour créer un son d’orgue 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). (Le type de l’objet 1 doit être défini sur Impulse. Si tel n’est pas le cas, faites-le.) 2 Définissez le paramètre Voices sur une valeur de 8, ou davantage si vous le souhaitez. 3 Faites glisser la boule de la nappe Material jusqu’au coin supérieur gauche de la fenêtre. 4 Activez l’objet 2 et définissez son type sur Bow. 5 Définissez le mode Gate de l’objet 2 sur Always. 6 Baissez complètement le curseur R(elease) de l’enveloppe d’amplitude. 7 Jouez un accord de C (Do) et vous entendrez un son évoquant celui d’une flûte. 8 Faites glisser le capteur Pickup A complètement à droite. 9 Jouez un accord de C (Do) et vous entendrez un son évoquant celui d’un orgue un peu ringard. Comme vous pouvez le constater, la position du capteur A a une incidence significative sur la personnalité du son. 10 Ensuite, faites glisser le capteur de l’objet 2 tout en tenant l’accord de C (Do). Une fois que vous avez trouvé une position donnant un son correspondant à votre conception d’un son d’orgue, relâchez le capteur de l’objet. 11 À présent, augmentez très légèrement la valeur du paramètre Timbre de l’objet 2. 12 Ajustez doucement la valeur du paramètre Variation de l’objet 2, jusqu’à obtenir une tonalité qui vous plaît. 432 Chapitre 14 Sculpture 13 À ce stade, vous souhaitez peut-être déplacer le capteur de l’objet 2 vers une position différente. Tenez un accord lors du déplacement. 14 Vous pouvez retravailler encore le son en apportant quelques modifications aux valeurs des paramètres Variation et Timbre de l’objet 2. 15 Pour introduire un léger clic de touche, faites passer le type de l’objet 1 sur Strike, puis ajustez ses paramètres Strength et Timbre. 16 Pour ajouter une vibration de style orgue désaccordé, définissez le paramètre Warmth sur une valeur comprise entre 0,15 et 0,20. 17 À ce stade, vous devez déjà avoir un son d’orgue « de base ». Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pourrez vous en servir pour créer un autre son d’orgue. Astuce : jouez des notes ou des accords pendant que vous ajustez vos paramètres, afin d’écouter ce que chacun d’eux change au niveau du son. Vous allez probablement remarquer qu’un phénomène d’intermodulation est audible lorsque vous jouez des accords. Outre les différences de hauteur des notes composant l’accord, c’est là le résultat desinteractions entre chacune des voix générées par Sculpture. Ces légères variations entre chaque voix (ou corde, si vous préférez) et leurs interactions harmoniques ressemblent aux interactions harmoniques d’une section de violons dans un orchestre, même s’ils jouent tous la même chose. Création de sons de percussion dans Sculpture Tous les sons percussifs (de batterie, par exemple) ont tendance à avoir une forme d’enveloppe assez similaire. Ils contiennent un élément de « frappe » où apparaît la plus grande partie du caractère du son, suivi par une courte phase de chute. La phase de relâchement peut varier selon l’instrument lui-même (caisse claire ou bloc de bois, par exemple) et les caractéristiques acoustiques du local où il se trouve (caverne, salle de bains, etc.). Pour créer un son de percussion 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le type de l’objet 1 sur Strike. 3 Activez l’objet 2 et définissez son type sur Disturb 2-sided. 4 Définissez le mode Gate de l’objet 2 sur Always. 5 Le paramètre Strength de l’objet 1 doit être défini sur 0,84. 6 Le paramètre Strength de l’objet 2 doit être défini sur 0,34. 7 Faites glisser le curseur Media Loss vers le haut ou vers le bas tout en jouant, afin de bien percevoir son effet. Trouvez une valeur qui vous convient. Chapitre 14 Sculpture 433 8 De même, vous pouvez modifier la position de la boule de la nappe Material, même si son incidence sur la tonalité globale dépend beaucoup de la valeur du paramètre Media Loss. 9 Activez le filtre et l’égaliseur Body EQ, puis ajustez les réglages en fonction de vos préférences. 10 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pouvez utiliser ce son comme point de départ pour une vaste gamme de sons percussifs : batteries, blocs, percussions « industrielles » et même sons de synthé pour séquences rythmiques. Vous pouvez rapidement créer des sons nouveaux et originaux en ajustant la position de la boule de la nappe Material et en modifiant la position du curseur Media Loss. Création de sons de cordes solistes dans Sculpture Les instruments à cordes solistes, tels que les violons ou les violoncelles, joués à l’archet, se créent dans Sculpture d’une façon assez similaire. Rien ne vous empêche de jouer ce son de façon polyphonique. Pour créer un son de corde soliste 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Transpose sur -1 Oct. 3 Définissez le type de l’objet 1 sur Bow. 4 Jouez sur la moitié grave de votre clavier MIDI et vous entendrez un son évoquant un alto ou un violoncelle, qui peut bien évidemment être amélioré. 5 Tout en jouant sur le clavier, définissez le curseur Velosens de l’objet 1 en fonction de votre style de jeu et de celui de la musique. Vous pouvez aussi le régler plus tard, si vous le préférez. 6 Faites glisser le curseur Tension Mod légèrement vers le haut, de façon à ce que la pointe de la flèche recouvre la lettre « D ». Vous imitez ainsi l’effet de désaccord provisoire dû à l’étirement, par frottement, de la corde par l’archet. 7 Modifiez la position du capteur Pickup A jusqu’à atteindre environ 0,90. 8 Modifiez la position du capteur de l’objet 1 jusqu’à atteindre environ 0,48. 9 Activez l’égaliseur Body EQ, puis sélectionnez le modèle Violin 1. 10 Définissez les paramètres de l’égaliseur Body EQ comme suit : Intensity 0,73, Shift +1,00 et Stretch +1,00. 11 Ajustez le curseur Fine Structure selon votre goût. 12 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé et faites-le glisser vers le bas jusqu’à ce que les points bleu clair atteignent les positions 10:30 et 1:30. 434 Chapitre 14 Sculpture 13 Définissez le mode Level Limiter sur Both. 14 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Pour apporter des modifications approfondies à votre son de corde soliste µ Définissez une modulation, par exemple un vibrato, qui sera introduit dans le son après un court laps de temps. µ Observez l’exemple ci-dessus pour créer des instruments à corde soliste plus aigus; mais portez une attention spéciale à tous les paramètres Keyscale. Une configuration inappropriée des réglages peut donner un son de violon ou d’alto désaccordé. µ Utilisez l’égaliseur Body EQ pour modifier votre son. Réglez ces paramètres avec précautions, car ils peuvent avoir une grande incidence sur les octaves supérieures en particulier. µ Pour obtenir un changement plus radical (à l’aide des réglages de l’exemple ci-dessus), définissez le type de l’objet 1 sur Pick pour obtenir un son de synthé basse bien rond et élastique (si vous jouez dans les graves) et une harpe passable (si vous jouez sur le reste du clavier). Création de sons de synthétiseur classique dans Sculpture L’un des pointsforts de Sculpture réside danssa capacité à créer des nappes en évolution constante et des sons atmosphériques. Il peut également reproduire des basses de synthétiseur riches, dessons dominants puissants, ainsi que d’autressons de synthétiseur classique. Sculpture possède un avantage sur lessynthétiseurstraditionnels:son moteur de synthèse produit, à la base, une variété plus étendue de tonalités de départ, lesquelles possèdent une qualité organique et une richesse qui leur sont propres. Pour créer un son de nappe de synthétiseur standard 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Voices sur 16. 3 Définissez le type de l’objet 1 sur Bow. 4 Définissez le type de l’objet 2 sur Bow Wide. 5 Faites glisser la boule de la nappe Material jusqu’à l’extrême gauche de la nappe, exactement à mi-chemin entre le haut et le bas, sur la ligne Material. 6 Jouez un accord de C (Do) (central) et vous entendrez un son de nappe. 7 Si vous déplacez le capteur Pickup A sur 0,75, le son de nappe devient un peu plus agréable. 8 Déplacez l’objet 1 jusqu’à la valeur 0,84. 9 Déplacez l’objet 2 jusqu’à la valeur 0,34. 10 Enfin, cliquez sur l’icône Points portant cinq points, dans la section Morph Pad. Chapitre 14 Sculpture 435 11 Dans la section Morph Pad Randomize, faites glisser le curseur Int sur 25 pour cent, par exemple. 12 Cliquez une fois sur le bouton Morph Rnd. 13 Sélectionnez File > Save Setting As, puis saisissez un nouveau nom (par exemple « nappe_standard »). Vous utiliserez ce son de nappe de base dans plusieurs autres exemples. N’ayez pas peur d’intervenir sur votre « son brut » : tout est possible, alors n’hésitez pas à utiliser le filtre, le retard, l’égaliseur et le Waveshaper pour créer des sons. Pour créer un son de nappe de synthétiseur en évolution 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Cliquez sur l’onglet LFO 1 en bas à gauche de l’interface. 3 Cliquez sur le bouton 1 et jouez sur le clavier. Pour l’instant, pas de grande différence. 4 Ensuite, faites glisser le capteur Amt à gauche et à droite, tout en tenant un accord. Enfin, choisissez une valeur de 0,15. 5 Ouvrez le menu local Targetsitué à côté du bouton 1, puissélectionnez Object 1 Strength. Vous entendez alors un son un peu « flottant ». 6 Cliquez à présent sur le bouton Sync et réglez le potentiomètre Rate sur 1/8t. 7 Activez le deuxième objet LFO 1 en cliquant sur le bouton 2, puis sélectionnez Object 1 Position dans le menu local Target situé à côté du bouton 2. 8 Si vous jouez au clavier, là encore vous ne percevrez pas une grande différence. 9 Ouvrez le menu local Via situé à côté du bouton 2 et sélectionnez Velocity. 10 Jouez sur le clavier avec différentes vélocités ; vous entendrez les décalages de position du capteur de l’objet 1. Plus intéressant encore… 11 Ouvrez le menu local Waveform et sélectionnez Sample & Hold, puis jouez sur le clavier à différentes vélocités. Si vous avez une pédale Sustain, utilisez-la. Écoutez ce son qui évolue sans cesse. 12 N’hésitez pas à essayer différentes valeurs de tempo du projet et de LFO Rate, si vous le souhaitez. 13 Vous pouvez également modifier la valeur Spread Pickup et introduire le LFO2 ou d’autres modulateurs. Pour créer un son avec morphing 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Cliquez sur le bouton R(ecord) dans la section Morph Trigger. 3 Jouez un accord sur le clavier et déplacez la boule de la nappe Morph de façon circulaire. 4 Lorsque vous avez terminé, cliquez à nouveau sur le bouton R(ecord). 436 Chapitre 14 Sculpture 5 Faites passer le mode Morph sur Env only : vous devriez voir apparaître votre cercle Morph. 6 Jouez sur le clavier. Voilà votre nappe avec effet Morph. 7 N’hésitez pas à modifier les paramètres Morph Envelope selon vos besoins. Si vous avez créé et enregistré précédemment un réglage « nappe_standard », dans le cadre du Guide d’initiation, vous avez dû normalement utiliser les paramètres Morph Points, Intensity et Rnd lors de la configuration. Le but était de s’assurer qu’il existait quelques points de morphing déjà disponibles. Vous pouvez, si vous le souhaitez, conserver le chemin parcouru dans la nappe Morph, et continuer à cliquer sur le bouton Rnd et à régler le curseur Int(ensity) pour obtenir une variété infinie de sons. Guide d’initiation à Sculpture : Modulations Les options de modulation peuvent être trèsimportantes dansl’émulation desinstruments acoustiques, notamment pour l’introduction d’un vibrato sur un son de trompette, dans la durée. De nombreux sons de synthétiseurs classiques s’appuient au moins autant sur les modulations que sur les composantes de base des sons (VCO, VCF et VCA). Voici quelques astuces en matière de modulation : • Imaginons par exemple que vous souhaitez moduler le timbre de l’objet 2 à l’aide du LFO. Pour ce faire, cliquez sur l’onglet LFO 1 ou 2, cliquez sur le bouton 1 ou 2, sélectionnez la source et la cible souhaitées dans les menus locaux Source et Target, puis faites glisser les curseurs Amt et Via jusqu’aux valeurs souhaitées. C’est tout. • Pour contrôler une modulation par l’intermédiaire d’un contrôleur externe, comme par exemple la roulette de modulation de votre clavier, ouvrez le menu local Via et sélectionnez Ctrl A (1 ModWhl) ou Ctrl B (4 Foot), respectivement. Par défaut, Mod Wheel est défini sur Ctrl A. • L’atténuation de type « Bouncing » n’est disponible que pour l’objet 3. Il affecte le son d’une manière très intéressante, mais ne peut pas se synchroniser au tempo du projet. Si vous souhaitez créer un effet ressemblant à celui obtenu avec l’objet Bouncing, mais synchronisable avec le tempo du projet, vous pouvez utiliser le type d’objet Disturb et l’animer en modulant sa position verticale (timbre) à l’aide d’un LFO. Le contrôle Breath est disponible pour tous les utilisateurs de Sculpture, même si vous ne disposez pas du contrôleur physique de souffle correspondant. Pour utiliser le contrôle de souffle sans contrôleur correspondant 1 Enregistrez les modulations du contrôleur de souffle dans les enveloppes enregistrables, à l’aide de la roulette de modulation de votre clavier ou d’un autre contrôleur. Chapitre 14 Sculpture 437 2 Réaffectez le parcours de modulation enregistré au paramètre CtrlEnv1, au paramètre CtrlEnv2, ou aux deux. 3 Sélectionnez NoteOn dans le menu local Record Trigger. Les messages Note-On entrants déclenchent les paramètres CtrlEnv 1 et 2. Guide d’initiation avancé à Sculpture : programmation de basses électriques Cette section traite d’un seul type d’instrument, la basse électrique, et couvre l’ensemble des principales articulations et variations qui le concerne. La nature physique des basses électriques n’est pas aussi complexe que celle de leurs équivalents acoustiques. Cet instrument constitue donc un excellent choix pour le didacticiel consacré à la programmation de sons, le but étant de vousfaire acquérirsuffisamment de compétences pour utiliser Sculpture et reproduire avec précision tous les détails d’un son. Pour élaborer une basse et toutes ses composantes dans Sculpture, vous devez comprendre les phénomènes physiques de base à l’origine de l’émission d’un son dans l’instrument. Avant d’envisager en pratique le processus de programmation dans Sculpture, voustrouverez desinformations détailléessur la construction d’une basse électrique dans la section suivante. Remarque : pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre Sculpture, ouvrez le menu Settings et sélectionnez Tutorial Settings. Principaux aspects des basses électriques dans Sculpture En général, une basse électrique possède quatre cordes. La corde la plus grave est généralement accordée sur un Mi 0 (numéro de note MIDI : 28). Les cordes situées au-dessus du E (Mi) grave sont accordées à la quarte supérieure, soit A (La), D (Ré) et G (Sol). Bien sûr, on trouve couramment des basses possédant cinq ou six cordes, parfois plus encore. Comme Sculpture ne connaît pas de limites tonales, mais cet aspect a peu d’importance. L’une des éléments clés de la programmation audio est le contenu dominant du son de basse, qui dépend principalement des qualités des cordes. • Cordes à filet rond : un fil métallique très fin est enroulé autour d’une âme de câble en acier, ce qui donne un son métallique, très riche en sons dominants. • Cordes à filet plat : tombées en désuétude de nos jours, le bobinage en fil très fin est raboté ou poli. Le son est alors beaucoup moins riche en sons dominants que le son de cordes rondes. (Ces dernières ont moins de succès de nos jours.) Contrairement à ce qui se passe pour les cordes de guitare, la structure et la fabrication des cordessont identiques dans un même jeu. Il n’existe pas de jeux de cordesréunissant des cordes à filet rond et des cordes à filet à plat. 438 Chapitre 14 Sculpture Le rapport entre la longueur de la corde et sa tension a une incidence significative sur le contenu harmonique. En laissant de côté les basses qui peuvent se régler sur différentes tonalités (en modifiant la longueur des cordes vibrantes), la position où vous jouez sur la corde a un rôle important. Si vous jouez un Ré sur la dixième frette de la corde de Mi grave, le son sera plus sourd que si vous jouez la même note sur la corde de Ré à vide. Le nombre de frettes diffère d’une basse à l’autre et dépend de l’étendue des notes jouablessur l’instrument. Pasla peine de se soucier des notes au-delà du Do écrit au-dessus de la portée ; le registre utile de cet instrument est en fait limité aux deux octaves inférieures, soit du Mi 0 au Mi 2. Il faut également mentionner la basse électrique sansfrette. Comme touslesinstruments dépourvus de frettes, elle laisse à l’instrumentiste le libre choix de la hauteur des notes jouées et possède un son particulier, parfaitement identifiable. Dans le cadre de ce didacticiel, vous apprendrez à programmer ce type de son instrumental dans Sculpture. Trois types d’articulations seront évoqués : • Au doigt : l’instrumentiste utilise tour à tour l’index et le majeur pour mettre les cordes en mouvement. • Au médiator : les cordes sont pincées avec un médiator (plectre). • Frappement : les cordes sont frappées avec le côté du pouce ou tirées très fort avec les doigts, puis relâchées brutalement. La vibration des cordes est recueillie par un capteur électromagnétique. Lorsque la corde vibre, les oscillations de son âme d’acier modifient le champ magnétique. Les capteurs sont presque toujours situés à une certaine distance sur le côté, près du chevalet et du dispositif de fixation des cordes. Il existe plusieurs variantes de capteurs pour les basses électriques et on en réunit souvent plusieurs sur un même instrument pour créer le son. Pour éviter de trop entrer dansles détails à ce stade,sachez qu’il existe une règle générale qui s’applique : Plus vous décalez le capteur vers le milieu de la corde, plus le son est grave et moins il a de plénitude. Plus vous décalez le capteur vers la fin de la corde, plus le contenu de sons dominants augmente, devenant ainsi plus dense et compact. Le registre médium est mis en avant et les graves en retrait. S’il est placé à l’extrémité de la corde, le son devient très fin. Ce comportement imite la position de jeu réelle d’une vraie corde : si vous jouez plutôt vers le milieu de la corde, vous obtenez un son lisse, régulier et puissant, d’une densité harmonique limitée. Si vous jouez au niveau du chevalet, le son devient plus nasal, plus métallique et comporte davantage d’harmoniques. Chapitre 14 Sculpture 439 Passons à présent au corps de l’instrument et à ses propriétés de résonance. Presque toutesles basses électriques possèdent un manche en boisrigidifié par un axe métallique (pour le renforcer) et un corps en bois plein. Du fait de cette construction, la corde vibre avec une grande liberté (Sustain),sans produire de son acoustique direct. C’est l’ensemble capteurs/amplificateur/haut-parleur qui crée le son de l’instrument. L’interaction acoustique entre le corps, les cordes et les sources sonores externes sont bien moins complexes qu’avec des instruments acoustiques « purs ». La vibration des cordes est naturellement entravée par plusieurs facteurs physiques : le rayon du mouvement de la corde (l’antinœud) dépend du chevalet de gauche ou de la première frette sur laquelle appuie l’exécutant, ainsi que desfrettesintermédiaires. Il peut naître ainsi des sons dominants qui peuvent prendre des formes très diverses: d’un léger souffle ou bourdonnement à un son plus perçant ou déchirant. Autres facteurs: les propriétés physiques du matériau de la corde et de l’instrument, ainsi que l’état (dureté) de vos doigts, atténuent la vibration de la corde. Programmation d’un son de basse standard dans Sculpture Cette section traite de la programmation d’un son de basse standard, qui vous servira de point de départ pour les autres sons de basse que vous créerez par la suite. Pour créer l’environnement de travail adapté à la conception d’un son de basse personnalisé 1 Assurez-vous que vous pouvez jouer les notes comprises entre C0 (Do0) et C3 (Do3) sur votre clavier. Pour cela, utilisez soit la fonction de transposition de votre clavier principal, soit la fonction de transposition disponible dansles paramètres Region de votre application hôte. Remarque : vous pouvez, bien sûr, transposer des sons au moyen de Sculpture mais ce n’est pas la meilleure solution dans ce cas : en effet, les sons ne seraient pas compatibles avec les régions MIDI où la note numéro 60 comme do central est considérée comme une référence globale. 2 Ouvrez le menu Settings dans Sculpture et sélectionnez le réglage par défaut. Pour recréer les caractéristiques sonores d’une basse standard 1 Réglez la valeur Attack de l’enveloppe d’amplitude à sa valeur minimale (0,00 ms). Le curseur A(ttack) se trouve juste à droite de la nappe Material. 2 Raccourcissez la durée de relâchement de l’enveloppe d’amplitude à une valeur comprise entre 4 et 5 ms. Jouez une touche sur votre clavier. Elle doit s’arrêter de façon abrupte lorsque vous relâchez la touche et être dépourvue de tout artefact (de type craquement numérique ou autre parasite). Si vous êtes confronté à un quelconque problème de parasite audio au cours de ce guide d’initiation, essayez de rallonger, avec prudence, la durée du relâchement. 440 Chapitre 14 Sculpture 3 Jouez quelques notes soutenues au-dessus de E0 (Mi0). Celles-ci s’estompent trop rapidement. Résolvez ce problème avec le paramètre Media Loss, en faisant glisser le curseur situé à la gauche de la nappe Material presque en bas de sa course. Notez que, sur une basse haute qualité, la corde de E (Mi) grave peut continuer de vibrer pendant plus d’une minute. Votre basse standard (de base) doit simuler un jeu aux doigts, ce qui signifie qu’il faut créer le son en frappant les cordes. 4 Sélectionnez Pick dans le menu local Type de l’objet 1. Ne soyez pas troublé par le nom du type d’objet ; malgré le nom Pick (médiator), ce modèle permet de simuler correctement un son de cordes jouées avec les doigts. Jouez plusieurs notes dans le registre grave. Vous noterez que le son est très étouffé, déformé et creux. Avant de régler d’autres paramètres de l’objet 1, vous devez affiner la position du capteur. Ces modifications s’effectuent dans la fenêtre Pickup de Sculpture, située à gauche de la nappe Material. L’interface comprend trois curseurs en forme de flèche, qui correspondent aux objets 1 à 3. Les deux courbes transparentes en forme de cloche vous aident à visualiser la position et la largeur des capteurs Pickup A et Pickup B. Sur les basses électriques, les capteurs sont le plus souvent déportés sur le côté, près du chevalet. Ce modèle de basse ne dispose que d’un seul capteur. Pour simuler le comportement d’un seul capteur, il suffit de placer les deux capteurs exactement à la même position. 5 En surveillant le message d’aide, faites glisser le capteur Pickup B exactement au même endroit que le capteur Pickup A. Les deux lignes fines de couleur orange doivent se superposer parfaitement. Dans cet exemple, il convient de définir les deux capteurs sur 0,10. Remarque : vérifiez bien que le sélecteur Invert,situé en bas à gauche de la fenêtre Pickup, n’est pas activé : si l’est, les signaux issus des deux capteurs s’annuleront mutuellement. À présent, il est temps de déterminer la position du jeu : 6 Dans la fenêtre Pickup, faites glisser horizontalement le curseur Object 1. Jouez quelques notes au clavier pour bien entendre les modifications ainsi apportées. Chapitre 14 Sculpture 441 7 Vous vous apercevrez rapidement que vous ne pouvez obtenir de son précis et vivant qu’en faisant glisser le curseur relativement loin du milieu de la corde. Déplacez l’objet 1 plus près du capteur (position 0,15 dans l’illustration ci-dessous). 8 Les notes graves restent déformées. Pour y remédier, réglez le potentiomètre Level, situé à droite de l’enveloppe d’amplitude, sur une valeur de -10 dB. Modification des propriétés de corde pour le son de basse standard Vous pouvez déjà reconnaître le son d’une basse électrique, mais il lui manque encore une dimension de corde. Regardons à présent les cordes mêmes de la basse. Pour recréer les propriétés matérielles d’un jeu de cordes à bobinage rond 1 Faites glisser la boule de la nappe Material vers le haut et vers le bas, dans le coin gauche. Écoutez bien également les variations au niveau des harmoniques. Faites glisser la boule jusqu’au coin inférieur gauche. Le son obtenu rappelle vaguement celui d’une corde grave de piano. Le soutien des sons dominants étant trop long, il donne une impression très artificielle. 2 Faites glisser la boule vers le haut, jusqu’à obtenir un son acceptable. Essayez la position illustrée dans la figure : 442 Chapitre 14 Sculpture Remarque : en général, il est typique de rencontrer une déviation des harmoniques dans les cordes à filet rond. Elle se reconnaît à un son légèrement « impur » et métallique. Cela est dû au fait que les partiels (sons dominants) ne coïncident pas avec des multiples entiers de la fréquence fondamentale, mais sont légèrement décalés vers le haut. Un exemple connu dansle domaine desinstruments électro-acoustiques est le registre grave du piano électrique Yamaha CP-70. C’est un peu exagéré, mais votre modèle de basse bénéficiera d’une petite partie de cet effet. Pour écarter les sons dominants dans Sculpture 1 Faites progressivement glisser la boule de la nappe Material vers la droite. Le son prend alors un caractère plus pur, plus proche d’une cloche. 2 Pour simuler d’une façon réaliste cet « écart » progressif des harmoniques, essayez l’exemple de réglage suivant : Émulation des vibrations de corde et de frette dans un son de basse standard La vibration de la corde d’une basse électrique n’a pas lieu dans le vide. Les particularités naturelles du milieu ambiant influencent fréquemment la façon de vibrer de la corde. Au point de contact entre la corde et les frettes, des phénomènes de bourdonnement voire de claquement se produisent. Pour simuler ces éléments perturbateurs avec l’objet 2 1 Activez l’objet 2, puis sélectionnez Bouncing dans le menu local Type. Le son devrait normalement évoquer un trémolo de mandoline. Cet effet est bien trop prononcé pour ce type de son. 2 Déplacez l’objet 2 complètement vers la droite (jusqu’à la valeur 1,00). 3 Essayez diverses valeurs pour les paramètres de l’objet 2. Les valeurs de paramètres suivantes permettent d’obtenir un résultat distinct et réaliste : Strength 0,33, Timbre −1,00 et Variation −0,69. Chapitre 14 Sculpture 443 Jouez quelques notes graves et vous vous apercevrez qu’une fois de plus, le soutien des sons dominants est un peu trop long (comme sur les cordes/notes graves d’un piano). Pour utiliser l’objet 3 afin d’atténuer ces sons dominants 1 Activez l’objet 3, puis sélectionnez Damp dans le menu local Type. 2 Placez également l’objet 3 complètement sur la droite (jusqu’à la valeur 1). 3 Définissez le paramètre Strength sur 0,18. Remarque : essayez d’autres valeurs pour comprendre de quelle façon le paramètre Strength de l’objet 3 interagit avec le paramètre Inner Loss de la nappe Material. Plus la valeur d’Inner Loss est élevée, plus la valeur de Strength est petite, et vice versa. Définition de la plage du son de basse standard Pour recréer les différentes régions tonales de la basse de façon plus réaliste, utilisez la fonction de suivi de Sculpture. Pour activer l’écran de la fonction de suivi µ Cliquez sur le bouton Keyscale situé dans la partie inférieure de la nappe Material. La région clavier située en dessous du C3 (Do3) apparaît en vert, celle au-dessus en bleu clair. La nappe Material avec les paramètres Keyscale correspondants activés est présentée ci-dessous : Remarque : le registre le plus approprié pour jouer une basse correspond aux notes situées en dessous du Do3. Pour cette raison, utilisez les curseurs verts pour définir le timbre du son. Les curseurs primaires, situés autour de l’anneau, déterminent le timbre du son au-dessus du Do3. Pour le moment, ignorez les curseurs bleus (qui contrôlent le suivi clavier avancé) et réglez-les simplement sur les mêmes positions que les curseurs principaux. Une fois qu’elle est activée, la fonction de suivi clavier sert à régler le timbre du son, indépendamment de la hauteur tonale. Avant d’utiliser les curseurs bleus pour ce faire, essayez le paramètre Resolution. 444 Chapitre 14 Sculpture Contrôle des sons dominants dans le son de basse standard Le paramètre Resolution sert normalement à trouver un compromis entre consommation de ressources processeur et qualité sonore. Il peut toutefois être aussi utilisé pour mettre le son en forme. Pour utiliser le paramètre Resolutionafin de contrôler le timbre, indépendamment de la hauteur 1 Jouez quelques notes dans le registre aigu de la basse (au voisinage du C2 (Do2)), puis placez le curseur Resolution complètement sur la droite et revenez progressivement vers la gauche. 2 Vous entendrez alors de quelle façon le son perd progressivement ses sons dominants, tout en devenant plus fort. Pour des valeurs Resolution basses, une sonorité métallique non harmonique vient se greffer sur le son. 3 Augmentez la valeur Resolution jusqu’à ce que ce son métallique disparaisse. Réglez le curseur à la position suivante : 4 Jouez quelques notes dans le grave de l’instrument (autour de Mi0). Vous noterez que le son est assez étouffé, plutôt « vintage ». Déplacez le curseur vert Low Keyscale (situé en dessous du curseur principal Resolution) complètement à droite ; le registre grave devrait à présent présenter un son un peu plus consistant. Sur la plupart des instruments à cordes, le niveau des harmoniques décroît à mesure que la note devient plus aiguë. Au sens strict du terme, cette particularité n’est vraie que pour les cordes à vide, et même dans ce cas, d’une façon modérée. Si les cordes sont jouées avec les doigts, la longueur de corde est raccourcie (en particulier dans la partie haute du registre) et l’effet devient plus significatif. Chapitre 14 Sculpture 445 Pour utiliser le paramètre Inner Loss afin d’étalonner le contenu des sons dominants, en fonction de la hauteur tonale 1 Placez la boule de la nappe Material au-dessus des mots Inner Loss. Essayez de déplacer la boule uniquement à la verticale, afin de conserver une valeur constante pour le paramètre Stiffness. 2 Faites glisser vers le bas la ligne verte située près de la boule jusqu’à ce que le petit losange vert se trouve juste au-dessus du mot Steel. Lorsque vous jouerez, vous reconnaîtrez la transition progressive qui intervient entre le son consistant, riche en harmoniques du registre grave et le son très amorti du registre aigu. Ce réglage exagéré a pour but de montrer clairement le principe de suivi clavier appliqué aux instruments à cordes. Pour obtenir un son et un timbre plus authentiques, essayez le réglage suivant : Définition des niveaux de soutien du son de basse standard Dansle cas des basses en particulier, les notes graves possèdent naturellement une durée de Sustain bien plus longue que les notes aiguës. Sculpture vous permet de simuler ce comportement de façon réaliste grâce au paramètre Media Loss. Pour utiliser le paramètre Media Loss afin d’étalonner la diminution progressive de la phase de retombée de la note lorsque la hauteur augmente, procédez ainsi 1 Tenez quelques notes dans la région située au voisinage de Do2 et au-dessus. Vous vous apercevrez que ces notes s’éteignent trop lentement. Faites glisser le curseur Media Loss vers le haut, jusqu’à ce que la retombée soit assez rapide. L’ennui est qu’à présent les notes graves s’éteignent trop vite. 2 Faites glisser le curseur vert Media Loss Key Scale vers le bas, jusqu’à ce que la phase d’extinction du registre grave retrouve une durée convenable. 446 Chapitre 14 Sculpture 3 Comparez vos résultats avec ces valeurs recommandées : Vous avez à présent terminé cette section et créé une basse standard, articulée avec vos doigts. Enregistrez-la, par exemple, sous le nom Basse_élect_standard_doigts. Dans les sections suivantes, vous utiliserez cette basse « de base » comme point de départ pour l’élaboration d’autres sons de basse. Modification du spectre de votre basse standard dans Sculpture Dans le domaine des instruments à capteurs électromagnétiques, il est beaucoup plus facile de se livrer à des recherches sonores en modifiant le spectre sonore original qu’en utilisant des instruments acoustiques. Outre le nombre de capteurs, le choix de l’amplificateur, le réglage d’égalisation au niveau de l’amplificateur et, surtout, les propriétés physiques des haut-parleurs et de l’enceinte acoustique jouent un rôle majeur. Les caractéristiques centrales de votre son de basse électrique sont en place, mais vous pouvez encore l’améliorer de façon significative en prêtant attention à quelques détails. Voici quelques suggestions d’ordre général : • Variez la position des capteurs. Placez-les à des emplacements différents. Cela permet d’annuler certaines fréquences, tandis que d’autres seront additionnées. • Essayez d’activer le sélecteur Invert, même si cet effet n’est pas typiquement utilisé sur des basses électriques. • Un aspect typique des sons de basse réside dans le placement des capteurs dans le tiers gauche extérieur de la corde modélisée. Plus vous les déportez vers la gauche, plus le son deviendra maigre et nasal. • Le décalage de l’objet 1 a un effet similaire. N’hésitez pas non plus à essayer diverses combinaisons. Chapitre 14 Sculpture 447 L’égaliseur Body EQ est idéal pour conférer au son de basse sa touche finale. Votre son de basse électrique pourrait être un peu plus doux et un peu plus précis en phase d’attaque. Les bassistes aiment utiliser les termes plus sec et plus mordant pour décrire ce phénomène. Pour modifier le spectre de fréquences de votre son de basse « de base » avec l’égaliseur Body EQ 1 Chargez le réglage « Basse_élect_basique_doigts ». 2 Sélectionnez le modèle Lo Mid Hi standard dans le menu local Model de la section Body EQ. 3 Réduisez le niveau dans les graves en réglant le potentiomètre Low sur -0,30. 4 Accentuez de façon significative le registre médium, en réglant le potentiomètre Mid sur +0,50. Faites glisser le curseur Mid Frequency jusqu’à une valeur de 0,26. 5 À ce stade, vous trouverez sans doute que l’accentuation des fréquences correspondant au bas médium est un peu trop prononcée : revenez alors à une valeur de Mid de 0,30. 6 Le son pourrait être un peu plus nerveux : réglez le potentiomètre High sur 0,30. 7 Pour finir, réglez le potentiomètre Level (à la droite de l’enveloppe d’amplitude) sur -3 dB. Le son est désormais aussi fort que possible, sans distorsion sur les notes dans le grave. 8 Enregistrez votre réglage sous le nom Basse_élect_basique_doigts EQ1 ; vous en aurez besoin ultérieurement pour d’autres modifications. Programmation d’un son de basse avec médiator dans Sculpture La basse « de base » se joue avec les doigts. Dans l’exemple suivant, vous allez simuler le jeu sur les cordes avec un médiator, à l’aide du type d’objet Pick. Le paramètre Timbre servira à ajuster la relation entre la vitesse et l’intensité avec lesquelles la corde est jouée. Le paramètre Variation sera utilisé pour définir la densité du matériau, ou la dureté du médiator. Si vous considérez les doigts comme des médiatorstrèssouples, il est logique de modifier les paramètres Pick de façon à simuler un médiator en plastique dur. Pour simuler le jeu avec un médiator 1 Chargez le réglage « Basse_élect_basique_doigts ». 448 Chapitre 14 Sculpture 2 Réglez le paramètre Timbre de l’objet 1 à sa valeur maximale,soit 1,00. Notez que l’attaque est désormais plus prononcée. 3 Essayez différentes valeurs de Variation, afin de bien sentir les qualités matérielles du médiator. Remarque : toutes les positions ne donnent pas forcément des résultats utilisables sur l’ensemble du registre de l’instrument. 4 Vous pouvez obtenir un réglage cohérent et fonctionnel pour les deux octaves au-dessus du mi 0 avec les valeurs de paramètres suivantes : Position 0,17 (écran Pickup), Strength 1,00 (maximum), Timbre 0,90 et Variation 0,56. Une fois ces valeurs entrées, vous vous apercevrez que le son est désormais plus doux et très fin. En fait, il évoque plutôt un Clavinet. Pour compenser cet effet secondaire avec Body EQ 1 Activez l’égaliseur Body EQ et accentuez généreusement le grave du son en réglant le paramètre Low sur 0,60. Le paramètre Mid doit alors être défini sur 0,33. 2 Réglez le potentiomètre High sur -0,45, car le son est à présent si brillant qu’atténuer un peu les aigus est tout à fait approprié. 3 Il faut à présent régler le volume. Si vous réglez le potentiomètre Level sur 2,5 dB, il ne devrait y avoir aucune distorsion. Si tel n’était pas le cas, essayez d’atténuer un peu le grave à l’aide du potentiomètre Low. 4 Enregistrez ce réglage sous le nom Médiator_ouvert_filet_rond. Émulation d’une atténuation de guitare basse dans Sculpture Lorsqu’ils jouent au médiator, les bassistes ont souvent tendance à amortir le son avec le côté du pouce. La main droite, qui tient également le médiator, doitse trouver au-dessus des cordes au niveau du chevalet. Cette technique de jeu donne un son possédant moins de sons dominants, mais plus percutant, plus incisif. Vous pouvez contrôler le timbre du son en jouant, en modifiant l’angle de votre main et la pression qu’elle exerce sur les cordes. Dans cet exemple, l’objet 3 va servir à émuler la pulpe virtuelle du pouce. Le paramètre Timbre détermine le type d’atténuation appliqué et le paramètre Variation indique la longueur de la section de corde concernée. Pour émuler l’atténuation d’une guitare basse 1 Définissez le type de l’objet 3 sur Damp. 2 Définissez le paramètre Strength de l’objet 3 sur 0,50. 3 Placez l’objet 3 légèrement à droite dans la fenêtre Pickup (à la position 0,95) afin de simuler la largeur et la position de la pulpe du pouce reposant sur le chevalet. Chapitre 14 Sculpture 449 4 Réglez le paramètre Timbre à sa valeur minimale (-1) afin d’obtenir un effet d’atténuation très subtil. 5 Réglez le paramètre Variation à sa valeur maximale (1,00). Vous remarquerez qu’on perçoit encore, dans l’octave au-dessus de E0 (Mi0), une sorte de résonance métallique qui se produit au cours de la phase d’attaque. 6 Pour la supprimer, placez le petit losange vert sur la nappe Material, à un endroit situé directement sous la boule. Ce faisant, vous augmentez la valeur du paramètre Inner Loss pour le registre grave. Remarque : pour placer le losange exactement sous la boule, vous pouvez également cliquer dessus tout en maintenant la touche Option enfoncée. 7 Enregistrez ce réglage sous le nom Médiator_basse_demi_silencieux. Émulation d’harmoniques de guitare dans Sculpture Les harmoniques sont des multiples de la fréquence fondamentale de la corde. Ils déterminent le spectre du son. Pour lesfaire ressortir, ilsuffit d’amortir la corde en certains points stratégiques. Pour ce faire, posez très légèrement les doigts de la main gauche (pour les bassistes droitiers) sur la corde, sans appuyer, avant que la note ne soit articulée. Pour obtenir le premierson dominant, l’octave, il faut placer le doigt exactement au milieu de la corde, ce qui la partage en deux moitiés. Le son dominant suivant est la quinte au-dessus de l’octave ; pour le faire ressortir, votre doigt doit diviser la longueur de la corde dans un rapport 1/3–2/3. Le son dominant suivant correspond à des proportions 1/4–3/4, etc. Pour simuler le contact léger du doigt avec les cordes 1 L’objet 3 sert d’amortisseur. Sélectionnez le type Damp. 2 Réglez le paramètre Timbre de l’objet 3 à sa valeur maximale, soit 1,00. 3 Réglez le paramètre Variation sur sa valeur initiale (0), en cliquant sur le curseur Variation tout en maintenant la touche Option enfoncée. 4 Placez l’objet 3 exactement au milieu (0,50) de la fenêtre Pickup. Jouez sur votre clavier et vous entendrez le premier harmonique. 5 Tout en jouant, déplacez très lentement l’objet 3 vers la gauche de la fenêtre Pickup. Ce faisant, vous faites en quelque sorte défiler la série des différents harmoniques. 6 Enregistrez ce réglage sous le nom Ex Flageolet. Émulation d’une basse vintage à cordes à filet plat, jouée au médiator, dans Sculpture À présent, en quelques étapesfaciles, vous pouvez transformer la basse jouée au médiator en basse vintage jouée au médiator avec des cordes à filet plat. Le son ainsi obtenu est typique des musiques funk et soul des années 1970 ; vous le retrouvez aussi dans nombre d’arrangements de style « easy listening ». 450 Chapitre 14 Sculpture Pour émuler une basse vintage à cordes à filet plat, jouée au médiator 1 Commencez par charger le réglage « Médiator_basse_demi_silencieux ». 2 Faites glisser la boule de la nappe Material vers le haut ; le son devient plus étouffé. 3 Définissez le paramètre Strength de l’objet 3 sur 0,70. Vous obtenez une basse jouée au médiator, amortie, avec des cordes à filet plat. Astuce : si vous désactivez l’objet 3, vous obtenez un son rappelant une basse Fender Precision des années 1970. 4 Enregistrez ce réglage sous le nom Filet_plat_médiator_amorti. Pour obtenir un beau son percussif de style Bert Kaempfert(célèbre musicienallemand) 1 Réactivez l’objet 3. 2 Déplacez légèrement les capteurs vers la gauche (position 0,08). 3 Déplacez le médiator virtuel (objet 1) un peu plus loin vers l’extérieur (position 0,10). 4 Ajoutez la cerise sur le gâteau avec l’outil Body EQ, en réglant le potentiomètre Low sur sa valeur maximale (1). 5 Pour supprimer l’accent lors de la phase d’attaque, utilisez la représentation graphique afin de choisir une valeur de 0,48 pour la fréquence Mid de l’égaliseur Body EQ, puis avec le potentiomètre, faites passer cette valeur à 0,51. Tout en maintenant la touche Option enfoncée, cliquez sur le paramètre High de l’égaliseur Body EQ de façon à le régler sur 0. 6 Enregistrez ce réglage sous le nom Easy_listening_médiator_basse. Émulation d’un son de basse frappé dans Sculpture Ce terme regroupe en fait deux techniques d’articulation différentes. Dans le grave, cela consiste à frapper littéralement les notes avec le côté du pouce, dans la partie supérieure du corps de la basse. Dans les aigus, il faut tirer assez fortement sur la corde. Pour ce faire, passez le doigt en dessous, puislaissez-la revenir en place en claquant. C’est la conjonction de ces deux techniques qui donne le son de « basse frappée », agressif et riche en harmoniques. Pour émuler un son de basse frappé 1 Chargez le réglage « Basse_élect_basique_doigts_EQ1 ». 2 Désactivez l’égaliseur Body EQ. Chapitre 14 Sculpture 451 3 Désactivez également les objets 2 et 3, pour l’instant. La matière sonore de base d’un son frappé étant plus brillante que celle d’une basse standard jouée avec les doigts, vous devez intervenirsur lesréglages de la nappe Material : 4 Rétablissez la valeur initiale du paramètre Low Keyscale en cliquant sur le petit triangle vert (en dessous du curseur principal Resolution); tout en maintenant la touche Option enfoncée. 5 Faites légèrement glisser la boule vers le bas pour que le son devienne plus dur. La boule doit à présent se trouver juste au-dessus du mot Steel, sur l’axe horizontal. Parmi tous les modèles disponibles, Strike est le plus adapté à la simulation de la frappe d’un pouce sur le dessus des cordes. Ce modèle n’est toutefois pas aussi approprié pour les cordes tirées. Pour cela, il est préférable de choisir le modèle Pick. 6 Pour plus de sûreté, définissez le potentiomètre Level sur -25 dB. 7 Sélectionnez le modèle Pick pour l’objet 1. 8 Dansla fenêtre Pickup, déplacez l’objet 1 à la position 0,90. Elle correspond à une position de jeu appropriée, sur la touche ou au-dessus. Remarque : compte tenu de son concept universel, Sculpture ne réagira pas exactement comme une basse, sur laquelle on aurait tendance à jouer au milieu de la corde, dans la partie supérieure de la touche. Essayez de placer l’objet 1 sur cette position et écoutez le résultat. Vous constaterez que le son est un peu trop doux. Pour configurer les paramètres de l’objet 1 1 Réglez la valeur du paramètre Timbre sur 0,38 ; vous obtenez ainsi une attaque rapide. 2 Définissez le paramètre Strength sur 0,53. 3 Réglez la valeur du paramètre Variation sur -0,69 ; vous définissez ainsi un matériau plus doux pour votre pouce qui frappe. 452 Chapitre 14 Sculpture Vous connaissez probablement le son des notes graves jouées avec le pouce. Jusqu’ici, il manque le côté métallique de la percussion de la corde sur la touche. Utilisez l’objet 2 dans ce but et sélectionnez le type Bound. Le type Bound limite le débattement de la corde, exactement comme la touche sur une vraie basse électrique. Pour rappeler les fonctions de ces paramètres: Timbre détermine l’angle de l’obstacle de la corde alors que Variation définit le type et le degré de réflexion. Pour régler les paramètres de l’objet 2 1 Réglez la valeur du paramètre Timbre sur 0,39. Elle correspond à une touche à peu près parallèle au plan des cordes. 2 Définissez le paramètre Strength sur 0,33. Remarque : essayez également des valeurs plus élevées. Vous constaterez que le son s’adoucit de plus en plus, jusqu’à amortissement complet par l’obstacle. 3 Définissez Variation sur 0,64. Malgré des réflexions qui enrichissent le spectre en harmoniques, la corde peut encore vibrer librement. Remarque : essayez des valeurs négatives ; vous vous apercevrez que les réflexions ne peuvent alors plus se développer sans entrave. 4 Réglez le potentiomètre Level sur -3 dB ; l’obstacle Bound radoucit le son. 5 Notez que le son reste encore trop doux pour une « vraie » basse frappée ; essayez à nouveau d’utiliser l’égaliseur Body EQ. Activez Body EQ et ajustez les paramètres comme suit : Low 0,25, Mid 0,43, High 0,51 et faites glisser le curseur Mid Frequency à la position 0,59. 6 Enregistrez ce son sous le nom Basse_frappée_standard_n°1. Émulation d’un son de basse sans frette dans Sculpture À l’exception des techniques de jeu partagé, la basse sans frette se reconnaît immédiatement par rapport à une basse normale, par sa sonorité plus dense, plus chantante. Alors que les frettes placées sur le manche d’une basse standard font office de « mini-sillets » et permettent à la corde de vibrer sans contrainte, la collision directe de la corde avec le manche d’une basse sans frette explique ce son caractéristique. Sur une basse sans frette, la longueur de la corde est sensiblement plus courte que sur une contrebasse. C’est ce qui explique ce son un peu bourdonnant, même avec une attaque peu marquée sur la corde d’une basse sans frette. Ce « bourdonnement » peut être fidèlement reproduit dans les aigus, y compris sur des basses sans frette dont les cordes sont très courtes. L’utilisation du bout de votre doigt, relativement souple, et non d’une frette métallique dure pour diviser ou réduire la corde joue également un rôle. Pour programmer une basse sans frette 1 Chargez le réglage « Basse_élect_basique_doigts_EQ1 ». 2 Désactivez l’objet 3. Vous y reviendrez ultérieurement. Chapitre 14 Sculpture 453 3 Dans le menu Type de l’objet 2, sélectionnez l’option Disturb. Astuce : dansle modèle Disturb, le paramètre Timbre détermine l’intensité de la déviation de la corde par rapport à sa position de repos, déviation provoquée par l’obstacle. Les valeurs positives ne provoquent aucune déviation de la vibration par rapport à la position de repos. Le paramètre Variation définit la longueur de la section de corde perturbée ; une valeur positive correspond à une section longue et une valeur négative à une section courte. 4 Définissez les paramètres de l’objet 2 sur les valeurs suivantes : Strength 0,14, Timbre −0,05, Variation −1,00. 5 Maintenez enfoncé le curseur Object 2, qui reste tout à droite de l’écran Pickup, pour afficher une valeur de 0,99. Vous remarquerez que la section comprise entre Do2 et Do3 a déjà un son acceptable, mais le bourdonnement des notes plus graves reste trop fort. Cela ressemble à un sitar. Si vous désirez créer un jour un son de sitar, pensez à utiliser le modèle Disturb. 6 Essayez différentes valeurs pour le paramètre Strength, aussi bien pour le registre supérieur qu’inférieur de votre jeu. Vous vous apercevrez qu’au mieux, un seul compromis est possible. Le « bourdonnement » est soit trop présent dans le registre grave, soit pas assez présent dans le registre aigu. Il est évident que vous devez limiter l’effet au registre tonal concerné. À l’inverse des paramètres concernant la corde, les objets 1 à 3 ne disposent pas de fonction de suivi clavier directement adressable. Pour y remédier, utilisez les fonctions de mise à l’échelle de la tonalité des deux LFO. Étant donné que vous ne souhaitez probablement pas que le bourdonnement soit modulé par une oscillation périodique, vous devez réduire la vitesse LFO sur une valeur très basse, voire même à zéro. Ainsi, vous pouvez désactiver le LFO lui-même, tout en continuant d’utiliser sa matrice de modulation. 7 Activez le LFO 2 en cliquant sur le bouton LFO2 situé en bas à gauche, puis réglez le potentiomètre Rate sur 0 Hz. 8 Cliquez sur le bouton 1 (près du curseur RateMod, en haut à droite) afin d’activer la première cible de modulation. 9 Ouvrez le menu local Target et sélectionnez Object2 Strength. 10 Ouvrez le menu local Via et sélectionnez KeyScale. 454 Chapitre 14 Sculpture 11 Faites glisser le curseur Amt versla droite, tout en jouant. Vous vous apercevrez rapidement que le bourdonnement « chantant » est prépondérant dans le registre grave et redevient modéré à mesure que vous vous rapprochez du Do3. Faites glisser le curseur jusqu’à une valeur de 0,15. Le bourdonnement sera désormais bien plus modéré dans le registre grave. 12 Réactivez l’objet 3. Réglez le paramètre Timbre à sa valeur minimale (-1) et Variation à sa valeur maximale (1). L’objet 3 doit être placé tout à droite, jusqu’à la valeur 1,00. 13 Faites varier le paramètre Strength de l’objet 3. Vous découvrirez alors que le contenu harmonique du « bourdonnement » peut se contrôler très efficacement. Dans ce cas précis, il est recommandé de définir le paramètre Strength sur 0,25. 14 Enregistrez ce réglage sous le nom Sans_frette_filet_rond_n°1. Utilisation des effets de modulation et de désaccord dans Sculpture Normalement, les effets de désaccord et d’ensemble s’obtiennent en utilisant un effet de modulation ou en combinant doublage et désaccord. Si vous utilisez une basse sans frette pour un solo, un effet de chorus large ajoute une touche agréable. Comme Sculpture ne peut générer qu’une seule note à la fois à une certaine hauteur tonale, le simple redoublement n’est pas une solution. Il existe toutefois d’autressolutions pour apporter du mouvement et de la vie aux sons. Presque tous les paramètres Type des différents objets peuvent être modulés par des LFO, ce qui crée un grand nombre de combinaisons possibles. Pour émuler l’effet de chorus par modulation de la position des capteurs 1 Vérifiez que vous avez chargé le réglage « Sans_frette_filet_rond_n°1 ». 2 Réglez l’emplacement du capteur Pickup B sur 0,20. 3 Faites glisser vers le haut le demi-cercle Spread Pickup (situé à côté du potentiomètre Level). Les deux points de couleur bleu clair se déplacent vers le bas, vers les lettres L et R. Vous entendez alorsla largeurstéréo du son de la basse sansfrette augmenter. Le capteur Pickup A est envoyé sur le canal droit, tandis que le signal du capteur Pickup B occupe le canal gauche. Chapitre 14 Sculpture 455 Remarque : même si seules les basses modernes offrent des signaux stéréophoniques, il est toujours intéressant de traiter des sons conventionnels, comme ceux que vous avez créés dans les exemples précédents, avec cet effet. Notez que toutes les positions de capteur ne sont pas compatibles avec un instrument monophonique. Vous pouvez vérifier cela en restaurant la valeur Monophonique du réglage Spread Pickup (cliquez sur le demi-cercle Spread Pickup tout en appuyant sur la touche Option). Pour déplacer les capteurs 1 Sélectionnez LFO1. 2 Cliquez sur le bouton 1 (près du curseur RateMod, en haut à droite) afin d’activer la première cible de modulation. 3 Sélectionnez Pickup Pos A-B comme cible de modulation. 4 Réglez le potentiomètre Rate sur 1 Hz. 5 Pour entendre l’effet, vous devez définir l’intensité de la modulation (amplitude). Familiarisez-vous avec cet effet en déplaçant progressivement vers la droite le curseur Amt. Réglez-le sur une valeur finale de 0,15, fréquence modérée qui ne fait pas trop « onduler » le son. 6 Enregistrez ce réglage sous le nom Chorus_sec_sans_frette. Astuce : pour la largeur stéréo maximale, les effets basés sur le désaccord ne sont plus aussi aisément décelables, surtout lorsque les battements entendus dans le son résultent de différences de signal entre les canaux gauche et droit. Cette remarque n’est valide qu’à un certain degré, car le mouvement du capteur ne crée pas un véritable effet de chorus ou d’harmoniseur. Essayez d’écouter ce qui se passe lorsque vous réduisez légèrement la largeur stéréo. Testez également d’autres cibles de modulation, telles que Pickup Pos A+B, Pickup Pan A+B, Pickup Pan A−B et String Stiffness. Amusez-vous bien ! Ajout d’effets de réverbération et de réflexion avec la fonction Delay dans Sculpture De façon générale, les basses sont mixées sans effets (sec) et vous n’avez probablement raté jusqu’ici aucun effet de réverbération ou de retard dans les exemples. Ceci étant, l’ajout d’un peu de réverbération sur une basse sans frette peut se révéler bien séduisant lorsqu’elle est utilisée comme instrument solo. Utilisez la section Delay de Sculpture pour émuler cet effet. Pour créer un espace atmosphérique discret 1 Chargez le réglage « Chorus sec sans frette ». 2 Cliquez sur le bouton Delay pour activer la section du même nom. 3 Faites glisser le curseur Input Balance sur 1. 456 Chapitre 14 Sculpture 4 Cliquez sur le petit bouton Sync (qui se trouve juste à droite du curseur Delay Time) pour désactiver la synchronisation du tempo du retard. 5 Faites glisser le curseur Delay Time sur 90 ms. 6 Définissez le potentiomètre Xfeed sur 0,30. Lesréflexionsséparéessont encore trop distinctes. Pour rendre l’effet plus discret, modifiez le spectre de fréquences et l’amplitude des réflexions. Commencez par le spectre de fréquence : 7 Faites glisser le curseur LoCut sur 200 Hz et le curseur HiCut sur 1 000 Hz, dans la section Delay. Le paramètre LoCut, lorsqu’il est réglé sur 200 Hz, atténue les graves dans les réflexions, ce qui permet d’éviter toute « confusion » sonore. L’atténuation assez drastique des aigus, effectuée via le paramètre HiCut, a tendance à estomper les réflexions séparées, ce qui crée l’impression d’une petite pièce, avec des surfaces assez douces. 8 Réduisez le niveau total de l’effet en réglant le potentiomètre Wet Level sur 25 pour cent. 9 Enregistrez ce réglage sous le nom Chorus_sans_frette_+_Ambiance. Cet exemple montre que la section Delay peut servir de réverbération de substitution pour de petits espaces. Toutefois, pour obtenir des effets de réverbération plus sophistiqués, il est préférable de traiter le signal de sortie de Sculpture avec l’un des modules de réverbération de MainStage. Pour créer un effet de son « noyé » dans le retard 1 Chargez à nouveau le réglage « Chorus sec sans frette ». 2 Activez la section Delay. 3 Faites glisser le curseur Input Balance complètement à droite, jusqu’à la valeur 1. 4 Réglez la valeur du paramètre Delay Time sur 1/4t (soit un triolet de noire). 5 Réglez le potentiomètre Feedback sur 0,20. 6 Ajustez le potentiomètre Xfeed sur 0,30. 7 Faites glisser le curseur LoCut sur 200 Hz et le curseur HiCut sur 1 600 Hz. 8 Ajustez à présent le niveau global de l’effet en réglant le potentiomètre Wet Level sur 45 pour cent. Chapitre 14 Sculpture 457 9 Faites varier l’emplacement stéréo et la structure rythmique du retard en déplaçant le petit losange bleu clair dans la nappe Delay. 10 Enregistrez ce réglage sous le nom Chorus_sans_frette_+_Retard_mouillé. Guide d’initiation avancé à Sculpture : programmation de sons synthétisés La rubrique Guide d’initiation avancé à Sculpture : programmation de basses électriques traite de la programmation de sons de basse naturels, en reproduisant avec authenticité l’interaction physique réelle se produisant entre une corde et le facteur d’excitation qui la fait entrer en vibration. La capacité de produire des modèles aussi ressemblants constitue sans aucun doute l’un des points forts de l’architecture de Sculpture, mais ses capacités sonores s’étendent également à la création de sons très différents. Sculpture offre un certain nombre de fonctions que vous pouvez mettre à profit pour créer des sons synthétisés nouveaux. Cela inclut par exemple la nappe Morph, qui peut être automatisée, ainsi que les générateurs d’enveloppes programmables et enregistrables, que vous pouvez utiliser dans un contexte rythmique. De telles fonctions sont généralement superflues pour reproduire des sons de basse naturels, puisque aucune basse électrique existante ne peut modifier les caractéristiques tonales de la corde durant la phase de chute d’une note (par exemple, passer du bois au métal) ni synchroniser rythmiquement ce changement au tempo du projet. Elles sont toutefois très utiles pour créer des sons atmosphériques, basés sur le Sustain, que des modulations lentes et intéressantes contribuent à « rendre vivants ». Dans les sections suivantes, la capacité de Sculpture à créer des sons davantage basés sur l’espace et moinssur un côté organique sera démontrée, en prenant comme exemple plusieurs réglages de nappes. À mesure que vous vous familiariserez avec ces fonctions, vous découvrirez une large gamme de sons animés et intéressants. Dans le cadre limité de ces courtes expériences, il est bien sûr impossible de couvrir de façon exhaustive toutesles possibilités de Sculpture. Nous vous encourageons à procéder à des expérimentations à partir des valeurs suggérées et observez bien les conséquences des changements que vous apportez. C’est en procédant de la sorte que vous apprendrez le plus de choses concernant l’instrument et que vous trouverez l’inspiration pour créer des sons et des variations. Remarque : pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre Sculpture, ouvrez le menu Settings et sélectionnez Tutorial Settings. 458 Chapitre 14 Sculpture Création d’un son soutenu dans Sculpture Commencez par charger de nouveau le réglage par défaut de Sculpture ; celui, trèssimple, qui consiste en une corde pincée qui vibre et dont l’énergie sonore disparaît peu à peu. Il est évident que ce son doit être modifié de façon drastique, car vous souhaitez obtenir un son soutenu et étendu pour les nappes et non un son qui s’éteint rapidement une fois joué. Examinez les trois objets. Notez que seul l’objet 1 est activé et agit sur la corde par l’intermédiaire d’une impulsion. De même que pour l’exemple avec médiator dans la section consacrée au son de basse, la corde est excitée brièvement lorsque vous jouez la note, puis le son disparaît progressivement. Un son de nappe soutenu exige un agent d’excitation qui agit en permanence sur la corde. Les types d’objet appropriés sont Bow ou Bow wide (la corde est jouée avec des coups d’archet soit courts, soit longs), Noise (excitation par un signal aléatoire de bruit) ou Blow (excitation par un souffle, comme une clarinette ou une flûte par exemple). Essayez les différentstypes d’objet mentionnés ci-dessus, l’un aprèsl’autre, et faites glisser le curseur Object 1 Pickup, qui régit la position exacte de l’agent excitateur le long de la corde lorsque vous jouez. Vous arrivez à deux conclusions : premièrement, le son est désormais soutenu tant que vous appuyez sur la note. Deuxièmement, c’est en sélectionnant le type Bow que les changements sonores sont les plus prononcés lorsque vous faites glisser le curseur de l’objet 1. Ce réglage permet d’envisager les possibilités les plus fructueuses de variation du son et c’est pour cette raison qu’il a été utilisé. Enregistrement d’une enveloppe dans Sculpture Les variations sonores créées par le type Bow lorsque vous déplacez le coup d’archet virtuel le long de la corde sont très intéressantes. Vous pouvez contrôler ce mouvement via l’utilisation d’une enveloppe, créant ainsi la fondation nécessaire pour votre son de nappe. Il est plus logique, et plus pratique, d’enregistrer l’enveloppe que de la programmer, même si cette programmation s’effectue facilement par l’intermédiaire de l’affichage graphique. Pour enregistrer une enveloppe 1 Assurez-vous d’avoir chargé le réglage par défaut, puis faites glisser le curseur Object 1 complètement à gauche. En partant de cette position (où il génère un son riche en sons dominants), commencez à l’animer, en utilisant une enveloppe. 2 Repérez où se trouve la section Envelope, dans le coin inférieur droit de la fenêtre de Sculpture. Sélectionnez la première des deux enveloppes en cliquant sur le bouton Envelope 1. Dans la partie gauche de la section Envelope se trouvent deux possibilités pour effectuer le routage d’une cible de modulation au générateur d’enveloppe. Chapitre 14 Sculpture 459 3 Cliquez sur le bouton 0 pour activer le premier lien de routage, puis sélectionnez Object1 Position comme cible de modulation, dans le menu local Target. Faites glisser le curseur Amt complètement à droite pour régler l’intensité de la modulation à sa valeur maximale. Vous pouvez à présent enregistrer l’enveloppe. On suppose que votre clavier MIDI dispose d’une roulette de modulation émettant les messages de contrôleur MIDI correspondants (numéro de contrôleur continu : 1) et que l’option 1 ModWh est sélectionnée pour le contrôle de l’enveloppe 1 (sélectionnez 1 ModWhl dans le menu local CtrlEnv 1, situé dans le coin inférieur sombre de la fenêtre Sculpture). 4 Cliquez sur le bouton R situé en haut à droite de la section Envelope, en dessous de Record Trigger, afin de préparer l’enveloppe pour l’enregistrement. Sélectionnez Note+Ctrl Movement dans le menu local Record Trigger. Cette option assure que l’enregistrement des messages de contrôleur issus de la roulette de modulation commencera dès l’instant où vous jouerez la première note. 5 Jouez une note lorsque vous désirez lancer l’enregistrement, puis tournez lentement la roulette de modulation vers le haut, tout en maintenant enfoncée la touche sur le clavier. Remarquez les variationssonores que vous créez en agissantsur la roulette de modulation. 6 Une fois l’enregistrement terminé, replacez la roulette à son emplacement initial puis, après avoir relâché la note enfoncée jusqu’ici, cliquez sur le bouton R afin de désactiver le mode d’enregistrement. 460 Chapitre 14 Sculpture Lorsque vous appliquez l’exemple ci-dessus, vous pouvez voir la courbe que vous venez d’enregistrer. Notez que la courbe évolue uniquement d’un côté de l’axe de référence (correspondant à la valeur zéro), car la roulette de modulation n’émet que des valeurs unipolaires (comprises entre 0 et une valeur maximale positive). Comme vous avez déjà déplacé le curseur de Object 1 jusqu’à l’extrémité gauche de la corde, sa position ne peut se voir décalée que vers la droite par l’enveloppe, jusqu’à l’extrémité droite de la corde lorsque vous atteignez la valeur maximale d’intensité de modulation. Jouez une note, ou mieux encore, plaquez un accord et écoutez la modulation que vous avez enregistrée. Si vous n’êtes pas satisfait du résultat obtenu, répétez la procédure ci-dessus jusqu’à ce que vous le soyez. Le temps d’enregistrement maximal est de 40 secondes. Il est donc possible, si vous le désirez, de contrôler les paramètres et de créer des modulations qui s’étendent bien au-delà de la solution classique apportée par une simple évolution d’enveloppe ADSR. Remarque : si nécessaire, vous pouvez modifier la forme de l’enveloppe en déplaçant les points de jonction. Pour effectuer un zoom avant ou arrière sur l’affichage graphique, il vous suffit de cliquer dans une partie vide, puis de faire glisser la souris vers la droite ou versla gauche. Lorsque vous activez le petit bouton Sync, les points de jonction s’inscrivent sur une grille rythmique. Sélectionnez Loop Alternate dans le menu local Sustain Mode, situé en dessous de la représentation graphique de l’enveloppe. Comme le point de soutien se trouve à la fin de l’enveloppe, cette dernière est parcourue en permanence, du début à la fin, puis à l’envers, de la fin au début, ce qui crée un flux continu à l’intérieur du son. Pour résumer, vous disposez à présent d’un son de nappe assez rudimentaire, mais au son organique déjà intéressant, dont vous allez vous servir comme base, que vous allez améliorer par d’autres mises en forme et optimisations. Enregistrez cette version brute du son sous le nom Son_brut_0001, que vous utiliserez ultérieurement pour d’autres expériences. Chapitre 14 Sculpture 461 Augmentation de la largeur stéréo et du chorus dans Sculpture Si vous ne l’avez pas déjà fait, observez les instructions fournies à la rubrique Enregistrement d’une enveloppe dans Sculpture. Pour donner à votre son très sec Son_brut_0001 davantage de largeur stéréo et un effet de chorus, modulez les positions Pickup et attribuez-les aux canaux gauche et droit. Pour augmenter la largeur stéréo et le chorus 1 Chargez le réglage Son_brut_0001. 2 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé et faites-le glisser vers le haut jusqu’à ce que les points bleu clair atteignent la ligne séparant les deux demi-cercles. Ceci sépare les positions de balance stéréo des capteurs. 3 Cliquez sur les boutons 1 et 2 pour activer les deux liens de modulation dans le LFO1. 4 Pour le premier lien, sélectionnez PickupA Position dans le menu local Target, puis faites glisser le curseur Amt jusqu’à une valeur positive faible (environ 0,03 Hz), afin de moduler la position du capteur Pickup A. 5 Pour le second lien, sélectionnez PickupB Position dans le menu local Target, puis faites glisser le curseur Amt jusqu’à une valeur négative faible (environ -0,03Hz), afin de moduler la position du capteur Pickup B. Vous obtenez alors un effet de battement ou de chorus, très plaisant, qui confère largeur et plénitude au son et pallie le caractère trop sec et aride. Autre aspect déplaisant, le son est trop fort dans la gamme de fréquence moyenne et aurait besoin d’être égalisé. Vous pouvez utiliser Body EQ pour corriger ce problème. 462 Chapitre 14 Sculpture 6 Activez l’égaliseur Body EQ et procédez à des expérimentations avec le modèle Lo Mid Hi (qui correspond au réglage standard). Réduisez le réglage Mid à -0,5 et faites glisser le curseur Mid sur 0,37. 7 Activez le paramètre Delay pour conférer un peu de profondeur au son de nappe. Définissez Delay Time sur 1/4 et réglez le potentiomètre Xfeed sur 30 %. Le son de nappe possède désormais un effet d’ambiance plaisant et discret, vous pouvez donc conserver les valeurs d’origine des paramètres Delay. Enfin, l’optimisation du son permet de lui conférer un peu plus d’animation. Le résultat final que vous visez doit être subtil, ce qui fait des modulateurs de fluctuations l’outil idéal pour cette tâche. Ces modulateurs de fluctuations s’apparentent en fait à des oscillateurs sub-audio qui utilisent une forme d’onde aléatoire. Pour obtenir des sons plus vivants à l’aide de modulateurs de fluctuations 1 Cliquez sur le bouton Jitter situé sous la section LFO pour activer la fenêtre des deux modulateurs de fluctuations. 2 Cliquez sur le bouton 1 pour activer le premier lien dansJitter 1, puissélectionnez Object1 Timbre dans le menu local Target. 3 Réglez la valeur du paramètre Intensity sur -0,40 en faisant glisser le curseur situé sous le menu local Target, puis réduisez la valeur du paramètre Rate à 1 Hz. Vous créez ainsi quelques aberrations subtiles dans la pression exercée par l’archet sur la corde. Pour mieux identifier l’effet apporté, augmentez provisoirement la valeur du paramètre Intensity. Vous pouvez utiliser le second modulateur de fluctuations pour faire varier de façon aléatoire les positions des capteurs Pickup Pos A + B (positions des capteurs A et B). Chapitre 14 Sculpture 463 4 Activez Jitter 2 et choisissez le réglage Pickup Pos A+B dans le menu local Target. 5 Réglez la valeur du paramètre Intensity sur 0,2 environ, en faisant glisser le curseur situé sous le menu local Target, puis réduisez la valeur du paramètre Rate à 1,5 Hz. À mesure que vous augmentez la valeur du paramètre Intensity, le son développe un aspect clinquant, tintant particulier. Ajustez cet effet en fonction de vos goûts. Vous disposez à présent d’un son de nappe plutôtsatisfaisant. Conservez-le en l’état pour l’instant, bien que quelques unes des fonctions de Sculpture, telles que le filtre et le Waveshaper, ne soient pas utilisées, de même que les deux objets supplémentaires. Cependant, il faut parfois savoir s’arrêter. La dernière fonction, celle de morphing, a été gardée pour la fin. Consultez la rubrique Morphing des sons dans Sculpture pour faire d’autres expérimentations sur votre son de nappe. Morphing des sons dans Sculpture La nappe Morph apparaît bien en évidence au milieu de la partie inférieure de la fenêtre de Sculpture. Chacun des coins de cette nappe peut contenir un réglage différent, pour un certain nombre de paramètres. Vous pouvez effectuer un fondu enchaîné entre ces réglages et un morphing sur le son en faisant glisser la boule rouge située au centre la nappe Morph. 464 Chapitre 14 Sculpture Cliquez sur la nappe Morph tout en maintenant enfoncée la touche ctrl, puissélectionnez « Paste to all Points » dans le menu contextuel afin de copier le réglage de sonorité en cours dans les quatre coins de la nappe Morph. Si l’option Paste to all Points est grisée, sélectionnez d’abord Copy selected Point. Si vousfaites glisser la boule de la nappe Morph maintenant, vous n’entendrez aucun changement au niveau du son, car lesréglages dans chaque coin sont identiques. Mais cela ne va pas durer… Pour faire varier le son avec la nappe Morph 1 Faites glisser la boule jusque dans un coin poursélectionner le son partiel correspondant, signalé par des arcs en surbrillance qui apparaissent dans le coin. Faites de même pour les autres coins, puis faites varier le son en modifiant directement les valeurs de certains paramètres, dans chaque coin. 2 Déplacez la boule avec prudence autour de la nappe Material, puis essayez de trouver un emplacement où votre son de nappe prend un caractère nouveau et intéressant. N’hésitez pas à essayer les coins extrêmes, par exemple. En utilisant la nappe Material, vous pouvez obtenir une variation particulièrement notable : Dès que vous avez choisi différents réglages pour les coins de la nappe Morph, le déplacement de la boule de morphing génère des variations sonores très marquées, même si les étapesintermédiaires ne se distinguent pasforcément toutes par un caractère tonal remarquable. Vous pouvez automatiser le processus Morph en assignant deux contrôleurs MIDI aux menus locaux MorphX et MorphY dans la partie inférieure de Sculpture. Vous pouvez également automatiser la nappe Morph en utilisant une enveloppe enregistrée (pour plus d’informations, consultez Enregistrement des enveloppes de morphing dans Sculpture). De chaque côté de la nappe Morph, voustrouverez une fonction de manipulation aléatoire, qui permet de faire varier les sons de façon aléatoire à un niveau d’intensité déterminé, définissant le degré de modification aléatoire. Cette approche est très utile pour créer des variations subtiles sur des sons naturels, mais utilisée de façon moins discrète, elle peut déboucher sur des sonorités synthétiques évolutives très gratifiantes. Pour utiliser la fonction de génération de modifications aléatoires 1 Sélectionnez l’un des cubes sur le côté gauche de la nappe Morph, pour déterminer le nombre de coins à faire varier. Chapitre 14 Sculpture 465 2 Faites glisser le curseur à droite de la nappe Morph pour régler l’intensité des déviations aléatoires. 3 Cliquez sur le bouton Rnd situé en haut du curseur pour appliquer la modification aléatoire. La prochaine fois que vous déplacerez la boule de morphing, vous entendrez les variations que vous venez de créer. 466 Chapitre 14 Sculpture Ultrabeat est un synthétiseur conçu pour créer des sons de percussions et des rythmes polyphoniques. Ultrabeat intègre également un puissant séquenceur pas à pas, que vous pouvez utiliser pour créer des modèles et séquences rythmiques polyphoniques. Le présent chapitre couvre les aspects suivants : • Présentation de la structure d’Ultrabeat (p 468) • Chargement et enregistrement des réglages Ultrabeat (p 469) • Présentation de l’interface Ultrabeat (p 471) • Présentation de la section d’assignation d’Ultrabeat (p 472) • Importation de sons et d’instruments EXS dans Ultrabeat (p 476) • Présentation de la section Ultrabeat Synthesizer (p 479) • Présentation des oscillateurs d’Ultrabeat (p 481) • Présentation des paramètres relatifs aux oscillateurs d’Ultrabeat (p 482) • Utilisation de l’oscillateur 1 dans Ultrabeat (p 483) • Utilisation de l’oscillateur 2 dans Ultrabeat (p 487) • Utilisation du modulateur en anneau dans Ultrabeat (p 493) • Utilisation du générateur de bruit d’Ultrabeat (p 494) • Présentation de la section Ultrabeat Filter et Distortion (p 496) • Utilisation du filtre multimode dans Ultrabeat (p 497) • Utilisation du circuit de distorsion Ultrabeat (p 499) • Utilisation de la section Ultrabeat Output (p 500) • Utilisation de la modulation dans Ultrabeat (p 507) • Utilisation du séquenceur pas à pas d’Ultrabeat (p 518) • Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat (p 529) • Exportation des motifs Ultrabeat en tant que régions MIDI (p 533) • Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat (p 534) 467 Ultrabeat 15 • Guide d’initiation à Ultrabeat : introduction (p 535) • Guide d’initiation à Ultrabeat : création de grosses caisses (p 536) • Guide d’initiation à Ultrabeat : création de caisses claires (p 540) • Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale (p 547) • Guide d’initiation à Ultrabeat : création de charlestons et de cymbales (p 548) • Guide d’initiation à Ultrabeat : création de sons métalliques (p 548) • Guide d’initiation à Ultrabeat : création de sons extrêmes (p 549) • Guide d’initiation à Ultrabeat : programmation par blocs de construction (p 550) Présentation de la structure d’Ultrabeat La plupart des synthétiseurs logiciels présentent un synthétiseur par occurrence de module. Ultrabeat, en revanche, vous propose 25 synthétiseurs indépendants. Ces synthétiseurs, appelés voix de batterie dans Ultrabeat, sont adaptés à la création de sons de batterie et de percussions. La répartition des voix de batterie sur le clavier MIDI est simple : une voix de batterie unique est assignée au 24 premières touches MIDI, en commençant par le bas. La 25e voix de batterie est assignée aux touches situées au-dessus (à partir de la 25e), ce qui permet d’obtenir un son chromatique. Voix de batterie 1 à 24 La 25e voix de batterie peut être jouée de façon chromatique. Vous pouvez comparer Ultrabeat à une boîte à rythmes comportant 24 « drum pads » et intégrant un clavier multioctave, pouvant servir à des accompagnements polyphoniques ou à des lignes de basse ou de mélodie. 468 Chapitre 15 Ultrabeat Ces 24 pads de batterie sont affectés aux 24 premières touches du clavier MIDI standard (notes MIDI de C1 à B2, soit de Do1 à Si2). Cette configuration est compatible avec celle du clavier MIDI standard GM (General MIDI), une norme largement répandue. La note la plus grave de la gamme du 25e synthétiseur commence au C3 (Do3). Toutes les notes commençant au C3 (Do3) peuvent être jouées chromatiquement. Remarque : si votre clavier MIDI est limité à deux octaves ou ne prend pas en charge la transposition, vous pouvez utiliser le paramètre de transposition de votre application hôte pour décaler les notes MIDI suivantes d’une ou plusieurs octaves, vers le haut ou le bas. Important : À des fins de clarté et pour conserver l’analogie avec une boîte à rythmes, chacun dessynthétiseurs est ici désigné par le terme « son (de batterie) ». Leur combinaison forme un ensemble de batterie. Chargement et enregistrement des réglages Ultrabeat Les réglages Ultrabeat sont enregistrés et chargés de la même façon que les autres instruments MainStage. Pour en savoir plus, consultez la documentation relative à MainStage. Un réglage Ultrabeat comporte les éléments suivants : • l’ensemble de batterie, comprenant 25 sons, ainsi que les réglages d’assignation et de mixage correspondants ; • tous les réglages des paramètres des 25 sons ; Chapitre 15 Ultrabeat 469 • les réglages du séquenceur et l’intégralité des motifs, y compris l’automation pas à pas, ainsi que les informations de déclenchement, de vélocité et de Gate (durée des notes) des 25 sons. Le rappel de l’ensemble de ces informations lorsque vous chargez un réglage Ultrabeat est extrêmement pratique. En effet, l’effet musical des motifs, notamment de ceux incluant des paramètres séquencés de vélocité et de Gate, est souvent étroitement lié au ton et à l’impact des sons utilisés. Remarque : si vous enregistrez un ensemble de batterie à l’aide du menu Settings, seul l’emplacement de l’échantillon est stocké dans le réglage. Ultrabeat n’enregistre pas les fichiers audio à proprement parler ; il garde seulement la référence de leur emplacement sur le disque dur. Si vous chargez un réglage comportant une référence à un échantillon qui a été déplacé ou supprimé, une zone de dialogue vous invite à le spécifier ou à le localiser. Pour éviter cela, il est fortement recommandé d’utiliser le Finder afin de créer et de gérer un dossier d’échantillons Ultrabeat dédié, pour tous les sons et ensemble de batterie. 470 Chapitre 15 Ultrabeat Présentation de l’interface Ultrabeat L’interface utilisateur d’Ultrabeat comporte trois sections principales. Section Assignment Section synthétiseur Séquenceur pas à pas • Section Assignment: affiche touslessons d’un ensemble de batterie ; ce qui vous permet de les sélectionner, les renommer ou les organiser. Cette section comporte également un petit mélangeur, que vous pouvez utiliser pour régler le niveau et la balance de chaque son. Consultez Présentation de la section d’assignation d’Ultrabeat. • Section Synthesizer : permet de créer et de modeler différents sons. Les paramètres du son sélectionné dans la section d’assignation s’affichent dans cette section. Consultez Présentation de la section Ultrabeat Synthesizer. • séquenceur pas à pas : permet de créer et de contrôler des séquences et des motifs. Une séquence déclenche un son unique et peut inclure jusqu’à 32 pas. Un motif contient les séquences des 25 sons. Vous pouvez vous servir du séquenceur pas à pas pour déclencher et contrôler les sons à la place ou en complément des notes MIDI, en allant dans Ultrabeat (à partir de votre application hôte). Consultez Utilisation du séquenceur pas à pas d’Ultrabeat. Chapitre 15 Ultrabeat 471 Présentation de la section d’assignation d’Ultrabeat La section d’assignation affiche tous les sons de batterie. Cette section vous permet de : • sélectionner, organiser et nommer des sons ; • importer des sons à partir d’autres réglages Ultrabeat ou d’autres instruments EXS ; • définir des balances et des niveaux relatifs pour chaque son ; • désactiver des sons de la batterie ou les mettre en solo. Curseur Volume principal Potentiomètre Pan Menu Output Curseur Volume affiché en dessous du nom du son Clavier Bouton Mute Bouton Solo • Curseur Master (Volume) : contrôle les niveaux de tous les sons de batterie (le niveau global de mixage de tous les sons). • Curseur Volume : définit le volume des différents sons. Le niveau de chaque son est représenté par des curseurs bleus, qui fournissent un aperçu complet de tousles niveaux relatifs de batteries. Faites glisser le curseur bleu pour définir le volume du son concerné. • Clavier : : fait office de moniteur après réception des données MIDI appropriées. Vous pouvez également cliquer sur les touches pour reproduire le son sur la rangée correspondante. • Bouton M(ute) : permet de désactiver des sons de batterie. Vous pouvez effectuer cette opération sur plusieurs sons ou séquences à la fois en cliquant sur les boutons Mute correspondants. • Bouton S(olo) : vous permet d’écouter les sons en les isolant. Vous pouvez effectuer cette opération sur plusieurs sons ou séquences à la fois en cliquant sur les boutons Solo correspondants. • Potentiomètre Pan : contrôle le placement des sons dans le champ stéréo (panorama). • MenuOutput : permet de router chaque son vers dessortiesindividuelles(ou des paires de sorties). Ultrabeat présente huit sorties stéréo et mono distinctes lorsqu’elles sont insérées en tant qu’instrument à sorties multiples. • Les sons de batterie acheminés vers une paire de sorties autre que la principale (1-2) sont automatiquement supprimés des tranches de console de sortie principale. 472 Chapitre 15 Ultrabeat • Si vous choisissez une paire de sorties autre que la principale (1–2), le son est routé vers une tranche de console auxiliaire. Production et sélection de sons Ultrabeat Les 25 sons de batterie Ultrabeatsont associés au clavier représenté dansla partie gauche de l’interface Ultrabeat. Les sons commencent par le bas du clavier et correspondent à des valeurs de notes sur un clavier MIDI connecté, en commençant par C1 (Do1). Pour produire un son Procédez de l’une des manières suivantes : µ Jouez une note sur un clavier MIDI connecté. Comme indiqué ci-dessus, le son du bas est associé à la note MIDI C1 (Do1). µ Cliquez sur une touche du clavier pour déclencher le son sur la rangée adjacente. La touche correspondante sur la représentation du clavier, à gauche du nom du son, devient bleue lorsque l’on clique dessus ou lors de la réception de données MIDI adéquates. Pour sélectionner un son µ Dans la section d’assignation, cliquez sur le nom d’un son. Vous pouvez identifier le son sélectionné par le cadre gris qui entoure l’ensemble de la zone d’assignation. Les paramètres correspondant au son sélectionné s’affichent dans la section Synthesizer, à droite. Consultez Présentation de la section Ultrabeat Synthesizer. Dans l’exemple ci-dessous, le son 2 est produit (comme l’indique la touche bleue), alors que le son 4 est sélectionné (cadre gris). La touche mise en surbrillance (bleue) indique une note MIDI ou un message de contrôleur en entrée. Le son sélectionné est indiqué par un cadre gris. Chapitre 15 Ultrabeat 473 Pour sélectionner un son en jouant sur le clavier MIDI µ Activez le bouton Voice Auto Select dansle coin supérieur gauche de la fenêtre Ultrabeat. Cliquez ici pour sélectionner le son MIDI. Nommage, permutation et copie de sons Ultrabeat Cette section décrit les étapes à suivre pour renommer et réorganiser la position des différents sons de batterie. Pour renommer un son 1 Double-cliquez sur le nom d’un son pour ouvrir un champ de saisie. 2 Saisissez le nom, puis appuyez sur la touche Retour ou cliquez en dehors du champ de saisie afin de continuer. La permutation ou la copie de sons de batteries Ultrabeat peut s’effectuer par un glisser-déposer ou en utilisant un menu contextuel. Pour permuter ou copier un son de batterie avec la fonction glisser-déposer 1 Sélectionnez le nom du son (sans passer par un bouton ou un menu). 2 Faites ensuite glisser le nom jusqu’à l’emplacement voulu. La cible est ombrée lorsque vous effectuez un glissement dans la liste des noms de sons. • Faites simplement glisser un son de batterie pour l’échanger avec un autre (y compris les réglages du mélangeur : volume, balance, son désactivé, solo et configuration des sorties). Les séquences ne sont pas échangées. • Pour permuter les deux sons et les séquences, faites glisser, tout en maintenant la touche Commande enfoncée. 474 Chapitre 15 Ultrabeat • Pour copier le son, faites glisser, tout en maintenant la touche Option enfoncée. Les séquences ne sont pas copiées. • Pour copier à la foisle son et lesséquences, faites glisser, tout en maintenant lestouches Commande et Option enfoncées. Pour permuter ou copier des sons via une commande de menu contextuel 1 Cliquez en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le nom du son. 2 Dans le menu contextuel, choisissez l’une des commandes suivantes : • Copy (Voice & Seq) : copie le son sélectionné, y compris les réglages du mélangeur et l’ensemble des séquences, dans le Presse-papiers. • Paste Voice : remplace le son sélectionné par le son figurant dans le Presse-papiers, sans toutefois remplacer les séquences associées. • Paste Sequence > (sous-menu) : permet de remplacer tout ou partie des séquences du son cible. Les paramètres de son ne sont pas affectés. • Si une seule séquence est collée, elle vient remplacer la séquence actuellement active (identifiée dansle menu Pattern) du son de batterie cible. Vous avez ainsi la possibilité de coller des séquences dans chacun des 24 emplacements possibles de pattern. • Si vous copiez l’intégralité des séquences, vous les remplacez toutes. • Dans le cas où un son ne comporte que quelques séquences (les 24 touches ne sont pas toutes utilisées), si vous sélectionnez Paste Sequence > All, ces séquences sont placées aux mêmes positions. Par exemple, la séquence 5 (dans le menu Pattern) est copiée à la même position dans le nouveau son. Si une séquence est déjà présente à cet emplacement dans le son cible, elle est remplacée. Si aucune séquence n’est présente, la séquence copiée est ajoutée au son. • Swapwith Clipboard : remplace le son sélectionné par le son du Presse-papiers et place l’ancien son dans le Presse-papiers. Chapitre 15 Ultrabeat 475 • Init > (sous-menu) : ouvre un sous-menu contenant quelques sons servant de points de départ (Init.). Sélectionnez-en un pour remplacer le son cible. • L’échantillon Init. initialise le filtre, ainsi que les paramètres de hauteur tonale, selon des réglages neutres. Il s’agit d’un point de départ idéal pour la programmation de sons de batteries basés sur des échantillons. Ces commandes affectent uniquement le son sélectionné. Les données de séquence et de son relatives aux 24 autres sons restent inchangées. Remarque : les commandes du menu contextuel Paste et Swap with Clipboard nécessitent une copie préalable afin de placer les données appropriées dans le Presse-papiers. Importation de sons et d’instruments EXS dans Ultrabeat Ultrabeat permet de charger des échantillons audio, ainsi que ses propres réglages, mais aussi d’importer directement des instruments EXS. Cela facilite la représentation sonore et le traitement des rythmes pour les instruments EXS. Autre avantage : la présentation intuitive du mélangeur d’Ultrabeat vous permet d’utiliser et de contrôler des ensembles de batterie EXS. Vous pouvez utiliser la liste d’importation d’Ultrabeat pour ajouter des sons et des séquences à partir d’autres réglages Ultrabeat, ou ajouter des instruments EXS à votre ensemble de batterie Ultrabeat active (consultez Ajout de sons et de séquences à votre ensemble de batterie Ultrabeat). Vous pouvez également importer un instrument EXS entier en faisant glisser un fichier d’instrument EXS à partir du Finder directement dans la section d’assignation (consultez Importation d’instruments EXS entiers dans Ultrabeat). Ajout de sons et de séquences à votre ensemble de batterie Ultrabeat Vous pouvez utiliser la liste d’importation d’Ultrabeat pour ajouter des sons et des séquences à partir d’autres réglages d’Ultrabeat, ou ajouter des instruments EXS à votre ensemble de batterie Ultrabeat actives. Pour ouvrir un réglage Ultrabeat ou un instrument EXS dans la liste d’importation 1 Cliquez sur le bouton Import situé dans le coin supérieur gauche de l’interface. Cliquez ici pour importer un son provenant d’un autre kit de batterie Ultrabeat ou d’un autre instrument de l’échantillonneur EXS. 476 Chapitre 15 Ultrabeat 2 Choisissez le réglage Ultrabeat source ou l’instrument de l’échantillonneur EXS dans le sélecteur de fichiers, puis cliquez sur Ouvrir. Une liste de tous les sons issus du réglage ou des échantillons de l’instrument EXS sélectionnés s’affiche à droite du mélangeur de la section d’assignation. Liste d’importation Remarque : si vous importez des instruments EXS qui comportent plus de 25 zones d’échantillons, vous pouvez parcourir des pages (de 25 zones) à l’aide des flèches vers le haut et le bas situées à gauche et à droite du nom de l’instrument EXS en question, en haut de la liste d’importation. Cliquez sur les flèches pour accéder à d’autres pages de sons. Chapitre 15 Ultrabeat 477 Deux méthodes s’offrent à vous pour transférer des sons et des séquences de la liste d’importation vers votre ensemble de batterie. Pour faire glisser des sons dans votre ensemble de batterie µ Faites glisser le nom du son de la liste d’importation vers la rangée de votre choix dans la section Mixer. Remarque : maintenez la touche Commande enfoncée afin d’inclure touteslesséquences. Pour transférer des sons à l’aide des commandes de menu contextuel 1 Dansla liste d’importation, cliquez en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur le nom du son désiré. 2 Dans le menu contextuel, sélectionnez Copy (Voice & Seq) Le son sélectionné et ses séquences sont alors copiés dans le Presse-papiers. 3 Cliquez en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur le son à remplacer dans l’ensemble de batterie ouvert, puis, dans le menu contextuel, utilisez l’une des commandes suivantes : • Paste Voice : remplace le son sélectionné par le son figurant dans le Presse-papiers, sans toutefois remplacer les séquences associées. • Paste Sequence > (sous-menu) : ouvre un sous-menu qui vous permet de remplacer tout ou partie des séquences du son de batterie cible. Les paramètres de son ne sont pas affectés. • Si une seule séquence est collée, elle vient remplacer la séquence actuellement active (identifiée dansle menu Pattern) du son de batterie cible. Vous avez ainsi la possibilité de coller des séquences dans chacun des 24 emplacements possibles de pattern. • Swap with Clipboard : remplace le son sélectionné (et la séquence associée) par le son du Presse-papiers et place l’ancien son dans le Presse-papiers. Importation d’instruments EXS entiers dans Ultrabeat Vous pouvez importer un instrument EXS entier dans Ultrabeat en faisant glisser un fichier d’instrument EXS à partir du Finder directement dans la section d’assignation. Ultrabeat reproduit la présentation EXS aussi fidèlement que possible. Les zones EXS formatées sont configurées en tant que sons de batterie formatés, grâce au mode de lecture d’échantillons de l’oscillateur 2 (consultez Utilisation du mode Sample dans Ultrabeat). Remarque : cette méthode ne permet pas de parcourir les sons inclus dans l’instrument EXS si ce dernier comporte plus de 25 sons(échantillons). Ultrabeat met en correspondance uniquement les couches et zones d’échantillon comprises dans la tessiture de son de batterie d’Ultrabeat, entre C1 et C3 (Do1 et Do3). Tous les autres échantillons (zones) sont ignorés. 478 Chapitre 15 Ultrabeat Présentation de la section Ultrabeat Synthesizer Le moteur de son d’Ultrabeat est optimisé pour créer des sons de percussions ou de batterie acoustiques et électroniques. Il combine plusieurs approches de synthèse (distorsion de phase, lecture d’échantillons, modulation de fréquence et modelage physique) pour créer destons. Si vousle souhaitez, vous pouvez même utiliser une entrée latérale audio comme source sonore. Le moteur de son offre une très large gamme de fonctions de modulation. En effet, quasiment tousses composants peuvent être modulés. La section Synthesizer est au cœur d’Ultrabeat. Chaque son constituant un ensemble de batteries consiste en un synthétiseur indépendant, avec ses propres paramètres et, par conséquent, sa propre section Synthesizer. L’interface et le cheminement du signal du moteur de synthèse d’Ultrabeat reposent sur des conceptions de synthétiseurs classiques. Si lessynthétiseurssont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseurs, qui vous permettra de découvrir les bases, ainsi que la terminologie associée, des différents systèmes de synthèse. Si vous observez la section Synthesizer de gauche à droite, vous reconnaîtrez la présentation et le cheminement du signal d’un synthétiseur soustractif. Tout d’abord, le matérielsonore de base est créé par les oscillateurs, le générateur de bruit et le modulateur en anneau. Un filtre permet ensuite de supprimer certaines fréquences du son brut, puis une mise en forme du volume (avec des enveloppes) est effectuée. Chapitre 15 Ultrabeat 479 Remarque : la structure et la présentation reflètent les conceptions de synthétiseurs soustractifs classiques. Toutefois, Ultrabeat intègre un certain nombre de méthodes de génération de tons (synthèse), notamment la modulation de fréquence, la modélisation de composants, la lecture d’échantillons et la distorsion de phase. Ces méthodes apportent des qualités uniques, qui étendent largement la tessiture des sons pouvant être créés. Oscillateur 1 Oscillator 2 Curseur du modulateur en anneau Bouton Signal flow Filter Bouton Signal flow Noise Generator L’interface en trois dimensions permet d’avoir une présentation claire des détails et de l’importance des diverses fonctions d’Ultrabeat. Elle permet en outre d’identifier les différents niveaux, du premier au dernier. Lorsque vous explorez l’interface d’Ultrabeat, gardez bien à l’esprit que les descriptions qui suivent se basent sur cette présentation en 3D. La grande section circulaire et rehaussée située au milieu concerne le filtre (et la distorsion). Son emplacement et sa représentation sont à la fois symboliques et pratiques. Le filtre joue en effet un rôle central dans Ultrabeat. Pour en savoir plus sur le filtre, consultez Présentation de la section Ultrabeat Filter et Distortion. Le filtre reçoitson signal à partir dessources de son suivantes: l’oscillateur 1, l’oscillateur 2, le générateur de bruit et le modulateur en anneau. Les sorties de ces sources sont représentées par trois dispositifs circulaires, ainsi qu’une section rectangulaire pour le modulateur en anneau, plus petite et située à droite, entourant le filtre. 480 Chapitre 15 Ultrabeat Un niveau plus bas, du premier au dernier, chacun des objets de sortie de la source audio fournit des commandes déterminant la façon dont les sources de modulation, telles que le LFO et les enveloppes, affectent la source audio. Toutes les sources de modulation sont abordées dans la section Utilisation de la modulation dans Ultrabeat. Chacune dessources audio contiguës au filtre comporte un petit bouton de cheminement du signal (rouge lorsqu’il est activé). Celui-ci permet de déterminer (et d’indiquer) si le signal de la source audio associée doit passer dans le filtre ou s’il doit le contourner, avant d’être dirigé vers la section de sortie de l’Ultrabeat. La section de sortie se trouve à droite. Les signaux envoyés par le filtre peuvent transiter par deux égaliseurs et une phase d’expansion stéréo ou de modulation panoramique. Cette section vous permet également de configurer le niveau de sortie initial, ainsi que le comportement de déclenchement. Consultez Utilisation de la section Ultrabeat Output. La sortie du son est ensuite envoyée au mélangeur de la section d’assignation (consultez Présentation de la section d’assignation d’Ultrabeat). Présentation des oscillateurs d’Ultrabeat Les oscillateurs d’Ultrabeat permettent de générer desformes d’onde. L’oscillateur 2 peut utiliser un échantillon à la place d’une forme d’onde. Le signal produit par l’un des oscillateurs, ou par les deux, est ensuite envoyé vers d’autres parties du moteur de synthétisation à des fins de mise en forme, de traitement ou de manipulation. D’autressources audio comprennent un générateur de bruit et un modulateur en anneau distincts, pouvant générer d’autres signaux en plus de ceux produits par les oscillateurs. Consultez Utilisation du modulateur en anneau dans Ultrabeat et Utilisation du générateur de bruit d’Ultrabeat. Avant d’évoquer les paramètres des oscillateurs, présentons quelques-unes des fonctionnalités spécifiques auxquelles vous avez accès dans la section consacrée à l’oscillateur d’Ultrabeat. • L’oscillateur 2 peut effectuer une modulation de fréquence sur l’oscillateur 1, pour les sons de la synthèse FM. • Une modulation en anneau peut être effectuée sur l’oscillateur 2 avec l’oscillateur 1. • L’oscillateur 2 peut utiliser un fichier audio (échantillon) à la place d’une forme d’onde synthétique. La sortie de l’échantillon est un signal de l’oscillateur 2. Chapitre 15 Ultrabeat 481 Présentation des paramètresrelatifs aux oscillateurs d’Ultrabeat Cette rubrique fournit un aperçu des paramètres disponibles avec les deux oscillateurs. D’autres rubriques aborderont les paramètres propres à chaque oscillateur. Bouton Signal flow Champ Pitch Potentiomètre Volume Curseur de hauteur tonale Menus Mod et « via » (pour le volume) Menus Mod et « via » (pour la hauteur tonale) • Bouton Oscillateur activé/désactivé : cliquez sur le bouton (en haut à gauche de l’oscillateur 1 ou en bas à gauche de l’oscillateur 2) pour activer ou désactiver les oscillateurs individuellement. Si le bouton est rouge, c’est que l’oscillateur est activé. Remarque : lorsque vous programmez un son, vous pouvez activer ou désactiver les différentes sources audio en utilisant les boutons correspondants, ce qui vous permet d’entendre les composants du son de façon isolée. • Potentiomètre Volume : définit le volume de l’oscillateur 1 ou 2. • Il peut être modulé par les sources figurant dans les menus Mod et Via. • Curseur et champ Pitch slider : définit la hauteur tonale de l’oscillateur, exprimée en demi-tons. La valeur de la hauteur tonale apparaît dans le champ à gauche du curseur. Faites glisser verticalement sur le champ pour la régler. • Appuyez sur Maj pour régler la hauteur tonale, par intervalles d’un centième (1 centième = 1/100e de demi-ton). • La hauteur tonale peut également être modulée par les sources figurant dans les menus Mod et Via. • Bouton Signal flow: détermine si le signal de l’oscillateur associé doit passer par le filtre ou être envoyé directement à la section EQ (dansla section Output). Lorsqu’il est activé, le bouton devient rouge et une flèche indique la direction du cheminement du signal. • Menus Mod et Via : détermine les sources de modulation pour la hauteur tonale et le niveau de l’oscillateur. Consultez Utilisation de la modulation dans Ultrabeat. 482 Chapitre 15 Ultrabeat Utilisation de l’oscillateur 1 dans Ultrabeat L’oscillateur 1 peut utiliser trois modes différents. En fait, cela active troistypes de moteurs de synthèse : modulation de phase, fm et side chain (entrée audio externe), ce qui étend considérablement votre palette sonore. Chaque mode présente des fonctionnalités et des paramètres différents. Cliquez sur le bouton adéquat (bord supérieur de l’oscillateur 1) pour activer chaque mode. Utilisation du mode Modulation de phase de l’oscillateur 1 dansUltrabeat Avec une modulation de phase, la forme d’onde peut être transformée en quasiment n’importe quelle forme d’onde de synthétiseur de base. Les changements de paramètres sont immédiatement répercutés dans l’affichage de la forme d’onde, dans la section de l’oscillateur. Bouton On/Off Potentiomètre Slope Affichage Oscilloscope Curseur Asym Curseur Saturation • Potentiomètre Slope : cette valeur détermine la pente ou l’inclinaison de la forme d’onde. Plus elle est élevée, plus la forme d’onde est inclinée. Le son prend alors un caractère d’autant plus « nasal » que la pente est inclinée. • Curseur Saturation : augmente le gain, jusqu’à ce que la forme d’onde s’en trouve rognée. Des valeurs élevées se traduisent par une distorsion de la forme d’onde, qui devient plusrectangulaire. Lessons dominants de rang impairsont alors plus nombreux. • Curseur Asym(étrie) : modifie l’angle de la forme d’onde. Plus les valeurs sont élevées, plus l’onde est inclinée, prenant ainsi une forme en dents de scie. Le son est alors plus agressif. L’asymétrie peut être modulée par les sources figurant dans les menus Mod et Via. Cela permet de créer des changements sonores plus dynamiques au niveau de l’oscillateur. Pour en savoir plus, voir Utilisation de la modulation dans Ultrabeat. Chapitre 15 Ultrabeat 483 Création de formes d’ondes classiques en mode Modulation de phase dans Ultrabeat Les formes d’onde de base des synthétiseurs analogiques classiques peuvent être reproduitesfacilement par la modulation de phase : les ondessinusoïdales, rectangulaires et en dents de scie résultent de différentes combinaisons des valeurs des paramètres Slope, Saturation et Asym. Ainsi, si vous définissez des valeurs de pente et de saturation maximales et une valeur d’asymétrie minimale, vous obtenez une onde carrée classique. Si vous définissez la pente sur -0,20, la saturation au minimum et l’asymétrie au maximum, vous obtenez une forme en dents de scie. Si vous affectez la valeur 0 à ces trois paramètres, vous obtenez une onde sinusoïdale. Consultez le tableau ci-dessous pour avoir un aperçu des qualités tonales de chaque forme d’onde de base. Waveform Ton de base Commentaires Parfait pour lesinstruments à anche, les anomalies synthétiques et les basses Rectangulaire Son nasal Utile pour les basses, les clarinettes et les hautbois. La largeur d’impulsion des formes d’onde carrées (oscillateurs 2 et 3) peut être progressivement mise à l’échelle entre 50 pour cent et l’impulsion la plus fine. Son creux et proche du bois Square Utile pour les sons de cordes, nappes, basses et cuivres En dents de scie Chaud et régulier Son doux (davantage Utile pour les flûtes et les pads qu’avec la forme en dents de scie) Triangle L’oscillateur 2 peut effectuer une modulation de fréquence sur l’oscillateur 1. Ce type de modulation de fréquence est au centre de la synthèse FM. Sinusoïdale Ton pur Utilisation du mode FM (Modulation de fréquence) dans Ultrabeat La modulation de fréquence convient bien aux simulations de formes d’onde analogiques et de sons de style analogique. Le mode FM, lui, est bien adapté à la création de sonorités numériques de type sonnerie et de sons métalliques. Le principe de la synthèse par modulation de fréquence (FM) a été développé vers la fin des années 60 et au début des années 70 par John Chowning. Il a été popularisé dans les années 80 par la gamme Yamaha de synthétiseurs DX. En termes de synthèse FM pure, Ultrabeat ne peut pas être comparé aux DX, mais il est parfaitement capable de créer des sons relevant de cette signature caractéristique. 484 Chapitre 15 Ultrabeat Fonctionnement de la modulation de fréquence En termes simples, la fréquence d’un générateur de signaux (oscillateur) est modifiée (modulée) par un autre générateur de signaux. Les valeurs de fréquence positives (plus élevées) du second générateur, appelé modulateur, augmentent la fréquence du premier générateur, appelé porteur. Inversement, les valeurs de fréquence négatives (plus faibles) du second générateur diminuent la fréquence du premier. Dans un synthétiseur, ce type de modulation se produit au sein du spectre audio. Selon la conception de l’instrument, vous pouvez entendre les signaux émis soit par le porteur seul (modulés par le modulateur), soit par les deux oscillateurs. L’interaction entre les deux oscillateurs modifie le signal de la forme d’onde du porteur, introduisant ainsi un certain nombre de nouvelles harmoniques. Ce spectre harmonique peut être utilisé comme signal source pour un traitement ultérieur du son, p. ex. le filtrage, le contrôle d’enveloppe, etc. Pour en savoir plus, consultez Synthèse par modulation de fréquence (FM) et EFM1. Modulation de fréquence dans Ultrabeat En mode FM, l’oscillateur 1 (le porteur) génère une onde sinusoïdale. Sa fréquence est modulée par la forme d’onde de l’oscillateur 2 (le modulateur). • Lorsque l’oscillateur 2 émet un signal de fréquence positive (plus élevée), la fréquence de l’oscillateur 1 augmente. • Inversement, lorsque l’oscillateur 2 émet un signal de fréquence négative (plus faible), la fréquence de l’oscillateur 1 diminue. L’effet de l’accélération ou du ralentissement de la fréquence de l’oscillateur 1 dans chaque cycle de forme d’onde constitue une distorsion de la forme d’onde de base. Cette distorsion de la forme d’onde présente un avantage secondaire, à savoir l’introduction de nouvelles harmoniques audibles. Lors du processus FM, plusla forme d’onde de l’oscillateur 2 est complexe, plusle nombre de partiels est important, avec l’augmentation de la Valeur FM. Gardez un œil sur l’écran pour visualiser l’onde sinusoïdale et observer son évolution vers une forme de plus en plus complexe. Remarque : si vous souhaitez utiliser la modulation de fréquence, l’oscillateur 2 doit être activé. Important : l’effet obtenu par la modulation de fréquence dépend à la fois des rapports de fréquence et de l’intensité de la modulation entre les deux oscillateurs concernés. Pour définir les rapports de fréquence et régler l’intensité de la modulation 1 Réglez les valeurs des paramètres de hauteur tonale d’un oscillateur, ou des deux. Chapitre 15 Ultrabeat 485 2 Avec le bouton FM Amount, réglez la valeur (intensité) de la modulation de fréquence. Potentiomètre FM Amount Ce paramètre peut être modulé par les sources figurant dans les menus Mod et Via. Pour en savoir plus, voir Utilisation de la modulation dans Ultrabeat. Utilisation du mode Side Chain d’Ultrabeat En mode Side Chain, Ultrabeat utilise, en guise de source pour l’oscillateur 1, une entrée de chaîne latérale externe. Ainsi, vous pouvez envoyer le signal de n’importe quelle tranche de console audio, bus ou entrée en direct via les filtres, les enveloppes, le LFO et le séquenceur pas à pas d’Ultrabeat. L’utilisation de bus en tant que sources de chaîne latérale rend possible le routage de signaux vers l’entrée de chaîne latérale à partir de n’importe quel type de tranches de console qui offre des bus comme sorties ou envois. Cela comprend les tranches de console d’instrument logiciel, les tranches de console auxiliaires ou un mélange de plusieurs tranches de console, qui sont routées vers un auxiliaire commun (sous-groupe) ayant un bus pour destination de sortie. Voici un exemple où vous pouvez tirer parti de cette fonction : utilisez une entrée audio provenant de l’oscillateur 1, combinée au moteur de synthèse de l’oscillateur 2, afin de créer un son partiellement live et partiellement de batterie synthétisée. Remarque : la chaîne latérale affecte uniquement le son sélectionné. Les autres sons et séquences d’Ultrabeat restent inchangés. Voici un autre exemple d’application : utilisez un seul son de batteries pour filtrer un signal audio externe avec groove programmé. Remarque : un signal d’entrée latérale audio seul ne suffit pas au déclenchement d’Ultrabeat. Pour que vous puissiez entendre le signal d’entrée latérale audio, Ultrabeat doit être déclenché via le clavier MIDI ou le séquenceur pas à pas intégré. 486 Chapitre 15 Ultrabeat Pour utiliser le mode Side Chain 1 Activez le bouton Side Chain de l’oscillateur 1. 2 Dans le menu local Side Chain en haut de la fenêtre de module, choisissez la tranche de console à utiliser comme source d’entrée en chaîne latérale. Utilisation de l’oscillateur 2 dans Ultrabeat L’oscillateur 2 peut également commutersur troistypes différents de moteurs de synthèse : modulation de phase, échantillon et modèle. Chaque mode présente des fonctionnalités et des paramètres différents. Pour activer chacun des modes, cliquez sur le bouton correspondant dansle coin inférieur de la section consacrée à l’oscillateur 2. Utilisation du mode Modulation de phase de l’oscillateur 2 dansUltrabeat Le fonctionnement de la modulation de phase de l’oscillateur 2 est similaire à celui de la modulation de phase de l’oscillateur 1. La principale différence réside dans le fait que le paramètre Saturation peut être modulé avec l’oscillateur 2, et pas l’asymétrie (oscillateur 1). Par conséquent, lorsque les deux oscillateurs sont en mode modulation de phase, ils peuvent produire des sons différents. Pour en savoir plus sur les paramètres, consultez Utilisation du mode Modulation de phase de l’oscillateur 1 dans Ultrabeat. Chapitre 15 Ultrabeat 487 Utilisation du mode Sample dans Ultrabeat En mode Sample, l’oscillateur 2 utilise un fichier audio en tant que source sonore. Curseurs Max et Min Bouton de direction de la lecture Curseurs Layer Affichage du nom de l’échantillon • Affichage Sample Name : permet de charger et de décharger des échantillons ou d’afficher l’échantillon chargé dans le Finder. Pour ouvrir, cliquez sur la flèche située dans le coin supérieur gauche de l’affichage consacré à la forme d’onde. Consultez Chargement d’échantillons dans l’oscillateur 2 d’Ultrabeat. • CurseursMax./Min. : déterminent le point de départ de l’échantillon,selon la dynamique du jeu (niveau de vélocité entrante). Faites glisser les étiquettes Max./Min. versla gauche ou la droite pour procéder à un réglage. • Min. : détermine le point de départ de l’échantillon au niveau de vélocité minimum (vélocité = 1). • Max : détermine le point de départ de l’échantillon au niveau de vélocité maximum (vélocité = 127). Remarque : si les curseurs Min. et Max. ont la même valeur, la vélocité n’a aucun effet sur le point de départ de l’échantillon. • Bouton PlaybackDirection : modifie le sens de lecture de l’échantillon (avant ou arrière). • Curseurs Layer : les échantillons Ultrabeat fournis, ainsi que les sons importés depuis desinstruments EXS,sont généralement constitués de plusieurs couchessélectionnées de façon dynamique par les vélocités de notes MIDI entrantes. La couche d’échantillon particulière à laquelle les valeurs de vélocité entrées permettent d’accéder est déterminée par le curseur Layer vert situé à droite (Min.) ou le curseur bleu à gauche (Max.). • Le curseur Min. (vert à droite) détermine la couche qui est déclenchée à une vélocité de note MIDI égale à 1. • Le curseur Max. (bleu à gauche) détermine la couche qui est déclenchée à une vélocité de note MIDI égale à 127. Remarque : si vous n’avez chargé qu’un échantillon contenant une seule couche, les réglages du curseur Vel Layer n’ont aucun effet. 488 Chapitre 15 Ultrabeat Chargement d’échantillons dans l’oscillateur 2 d’Ultrabeat Un certain nombre d’échantillons de sons de batterie et de percussions multicouches sont inclus sur vos disques d’installation. Ils ont été créés spécialement pour Ultrabeat et ses fonctions. Vous pouvez, par ailleurs, charger vos propres échantillons dans un format stéréo entrelacé (AIFF, WAV, CAF ou SDII). Remarque : la fonction relative aux couches de vélocité n’est pas disponible avec les échantillons chargés par l’utilisateur. Pour charger un échantillon dans l’oscillateur 2 1 Cliquez sur la flèche située dans la partie supérieure gauche de l’affichage de la forme d’onde, puis choisissez Load Sample dans le menu local. 2 Dans la fenêtre Load Sample, localisez le fichier audio souhaité et effectuez l’une des opérations suivantes : • Cliquez sur Ouvrir pour charger le fichier en question dans l’oscillateur 2. • Cliquez sur Annuler pour rester à l’état actuel. Chapitre 15 Ultrabeat 489 Utilisation de la fonction d’Ultrabeat « Aperçu du chargement d’un échantillon » Vous pouvez écouter des échantillons avant de les importer dans Ultrabeat. • Bouton Play : permet de prévisualiser les fichiers audio (AIFF, WAV, SD2, CAF, USB) avant de les charger. • Cliquez sur le bouton Play pour lire en boucle le fichier d’échantillon sélectionné. L’échantillon est lu directement à partir du disque dur, sans manipulation : les filtres, enveloppes, EQ et les autres paramètres du synthétiseur sont ignorés. • Cliquez une seconde fois sur le bouton pour arrêter la lecture. • Vous pouvez écouter plusieurs fichiers en appuyant une fois sur le bouton Play, puis en passant de fichier en fichier à l’aide des touches fléchées vers le haut et vers le bas, ou en cliquant sur chaque fichier. Remarque : l’écoute indépendante de toutes les couches n’est pas possible. Dans le cas de fichiers USB multicouches, la fonction d’audition lit l’échantillon à une vélocité fixe de 75 pour cent. Seule la couche concernée par cette valeur Velocity est lue. • Case « Échantillon d’aperçu dans les voix Ultrabeat » : remplace temporairement les fichiers échantillons dans le son de batterie actuellement sélectionné, dans la section d’assignation. Le son peut être déclenché normalement (notes jouées, événements MIDI ou événements du séquenceur Ultrabeat) lorsque la fenêtre Load Sample est ouverte et que différents fichiers sont sélectionnés. L’échantillon sélectionné peut être écouté au sein du son de batterie actif, en prenant en compte l’ensemble destraitements du synthétiseur. Important : les effets ajoutés dans la tranche de console d’instrument Ultrabeat sont audibles lorsque vous prévisualisez les échantillons. 490 Chapitre 15 Ultrabeat Utilisation du mode Model d’Ultrabeat Ce mode repose sur une méthode de synthèse appelée modélisation de composantes. Cette technique de génération de tons simule les propriétés physiques d’un objet, une corde de guitare par exemple. D’autres objets sont utilisés pour stimuler la corde, c’est-à-dire pour émuler la façon dont elle est jouée : pincée, avec un archet, etc. Bien que le terme corde soit employé, le mode Model vous permet de créer des sons sans grand rapport avec les instruments à cordes traditionnels. La corde est l’élément à l’origine du ton de base. Elle offre des paramètres qui permettent de régler son matériau, autrement dit, ce qui la compose. L’un des deux exciteurs fait vibrer (bouger) la corde de différentes façons. La corde elle-même ne produit pas de son, sauf si elle est stimulée ou excitée. Le signal émis par la corde qui vibre est envoyé au filtre, à l’amplificateur, etc, dans la section Ultrabeat Synthesizer. Boutons Exciter Curseur Resolution Nappe Material • Boutons Exciter : choisissez un des deux exciteurs de contraste. Chacun présente des caractéristiques sonores différentes (Type 1 et Type 2). Remarque : ici, un exciteur est un agent ou un appareil de déclenchement utilisé pour initier la vibration d’une corde. Il ne faut pas le confondre avec le module à effets du même nom. • Nappe Matériau : permet de déterminer le ton de base à l’aide des paramètres de raideur et d’atténuation (Perte interne) de la corde. Consultez Utilisation de la nappe Matériau d’Ultrabeat. • Curseur Resolution : détermine la précision du calcul. • Des valeurs élevées produisent des harmoniques supplémentaires. • Inversement, des valeurs faibles produisent moins d’harmoniques ou un spectre inharmonique. Remarque : plus la résolution est élevée, plus les ressources processeur nécessaires sont importantes (et plus le calcul est précis). Chapitre 15 Ultrabeat 491 Utilisation de la nappe Matériau d’Ultrabeat La combinaison des positions des paramètresInner Loss et Stiffness détermine le matériau et de la corde et, par conséquent, le timbre général de votre son. Pour contrôler les deux paramètres simultanément, faites glisser la boule (qui fait correspondre les coordonnées X et Y) dans la nappe Matériau. La hauteur tonale par défaut de la corde est C3 (Do3). D’une manière générale, en termes de synthétiseurs, toutse passe un peu comme si vous disposiez d’un sélecteur/générateur de forme d’onde dans la section de l’oscillateur. Remarque : cliquez sur la boule en maintenant la touche Option enfoncée pour restaurer les valeurs par défaut de tous les paramètres de corde. • Perte interne : Émule l’atténuation de la corde, provoquée parson matériau : acier, verre, nylon ou bois. Ces pertes sont variables en fonction de la fréquence, ce qui se traduit par un son devenant plus doux au cours de la phase de chute. • Raideur: définit la rigidité de la corde. En réalité, cet aspect est déterminé par le matériau de la corde et son diamètre ou, pour être plus précis, par son moment d’inertie géométrique. Les cordes rigides sont le siège de vibrations non harmoniques ; autrement dit, les sons dominants ne sont pas forcément des multiples de la fréquence fondamentale. Les fréquences sont en effet plus élevées, ce qui peut donner l’impression que les notes basses ou hautes sont un peu désaccordées les unes par rapport aux autres. Modification de la couleur tonale d’Ultrabeat avec les paramètres Inner Loss et Stiffness La combinaison de valeurs Stiffness et Inner Loss basses génère des sons métalliques. L’augmentation de la valeur du paramètre Stiffness donne un son ressemblant à une cloche ou à du verre. Les valeurs les plus élevées transforment la corde en une solide tige métallique. L’augmentation de la valeur du paramètre Inner Loss, tout en maintenant un niveau bas pour le paramètre Stiffness, correspond à des cordes en nylon ou en catgut. Des valeurs élevées à la fois pour le paramètre Stiffness et pour le paramètre Inner Loss simulent des matériaux de type bois. 492 Chapitre 15 Ultrabeat Utilisation du modulateur en anneau dans Ultrabeat La modulation en anneau est un puissant outil qui permet de créer des sons non harmoniques, métalliques ou de type cloche. Le modulateur en anneau d’Ultrabeat fonctionne comme une source sonore indépendante : son signal peut transiter ou non via le filtre, indépendamment des signaux des oscillateurs 1 et 2. Son volume peut également être régulé. Important : bien que le signal produit par le modulateur en anneau soit indépendant des signaux générés par les oscillateurs 1 et 2, vous devez activer les deux oscillateurs pour pouvoir utiliser le signal du modulateur en anneau. Le modulateur en anneau a besoin dessignaux des deux oscillateurs pour produire un signal de sortie. Par conséquent, si l’un d’eux est éteint, le modulateur reste automatiquement silencieux. Le son réellement produit par le modulateur en anneau est largement dépendant des réglages de paramètres des deux oscillateurs. La relation avec le réglage de chaque oscillateur, en particulier, a un impact direct sur le son issu du modulateur en anneau. En revanche, le volume de chacun des oscillateurs n’influence pas le traitement (ou la sortie) au niveau de la modulation en anneau. Curseur Level (les menus « mod » et « via » au-dessus et en dessous du curseur vous permettent de moduler le niveau du modulateur en anneau) Bouton d’activation/désactivation Ring Modulator Bouton Signal flow • Bouton Ring Modulator On/Off : active ou désactive le modulateur en anneau. Lorsqu’il est allumé, l’étiquette est mise en surbrillance. Remarque : si vous souhaitez écouter le signal du modulateur en anneau séparément (pour un meilleur réglage), baissez temporairement le volume des oscillateurs à 0. • Curseur Level : règle le volume de sortie du modulateur en anneau. • Menus Mod et Via : ces menus, situés au-dessus et en dessous du curseur Level, déterminent la source de modulation (et la source via) pour le paramètre Level. Lorsque l’une ou l’autre des sources est active, de petits curseurs (poignées) s’affichent sur les deux côtés du curseur Level. Consultez Utilisation de la modulation dans Ultrabeat. • Bouton Signal flow : détermine le routage pour le signal produit par le modulateur en anneau. Le signal est dirigé soit versle filtre (le bouton relatif au cheminement du signal devient rouge), soit directement vers la section EQ (le bouton relatif au cheminement du signal reste gris). La direction de la flèche sur le bouton relatif au cheminement du signal illustre le parcours de ce dernier. Chapitre 15 Ultrabeat 493 Remarque : le bouton Signal Flow détermine le type de routage pour le signal de sortie issu du modulateur en anneau. Il n’agit pas sur le fonctionnement du modulateur. Utilisation du générateur de bruit d’Ultrabeat Le générateur de bruit d’Ultrabeat présente des fonctionnalités étendues, ce qui vous permet de créer un grand nombre de sons de percussions et d’élémentssonores différents. Il dispose par ailleurs de son propre filtre (qui fonctionne indépendamment du filtre Ultrabeat principal, bien que celui-ci puisse également être utilisé sur la globalité du son). D’un point de vue technique, un signal sonore contient toutes les fréquences tonales, plus ou moins avec le même volume. Toutes les fréquences du spectre étant audibles, il est difficile d’isoler (et donc de discerner) une tonalité (hauteur tonale) dans un signal sonore. Toutefois, ou plutôt en conséquence, le bruit est essentiel pour créer des sons de batterie. Boutons de type de filtre Bouton On/Off Potentiomètre Cutoff et menus « mod » et « via » Potentiomètre Volume Potentiomètre Dirt et menus « mod » et « via » Potentiomètre Res(onance) Menus Mod et « via » (pour le volume) • Bouton On/Off : active ou désactive le générateur de bruit. Remarque : lors de la programmation d’un son de batterie, vous pouvez activer ou désactiver des sources sonores particulières à l’aide des boutons On/Off. Cela vous permet en outre d’écouter certaines composantes sonores séparément et de les supprimer, si nécessaire. • Boutons Filter Type : permettent de choisir le filtre intégré du générateur de bruit : passe-bas, passe-haut ou passe-bande. • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupures. Réglé en mode LP, le filtre fonctionne en passe-bas. Sa pente est égale à 12 dB/octave. 494 Chapitre 15 Ultrabeat • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupures. Réglé en mode HP, le filtre fonctionne en passe-haut. Sa pente est égale à 12 dB/octave. • BP (passe-bande) : la bande de fréquences entourant directement la fréquence centre (définie par le bouton Cutoff) est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. • Byp (inactif) : désactive le filtre intégré. • Potentiomètres Cutoff et Resonance : déterminent la fréquence de coupure/centre et le comportement de résonance/bande passante du filtre intégré. • La coupure peut être modulée par les sources figurant dans les menus Mod et Via. • Le potentiomètre Cut définit le point, dans le spectre de fréquences, à partir duquel le signal est amplifié ou coupé. Selon le type de filtrage choisi, vous pouvez rendre le son plussombre (LP), plusfin (HP) ou plus nasal (BP), en modifiant la valeur Couper. • L’augmentation de la résonance accentue les fréquences proches de la fréquence de coupure. La fourchette de résonance s’étend de 0 (aucune accentuation) jusqu’aux plus hautes valeurs permettant l’auto-oscillation du filtre. Remarque : l’auto-oscillation est typique des circuits de filtrage analogiques. Elle se produit avec des valeurs de résonance élevées, lorsque le filtre fonctionne en boucle fermée et commence à osciller à sa fréquence naturelle. • PotentiomètreDirt: ce paramètre a été spécialement conçu pour le générateur de bruit. Si les valeurs sont élevées, le son blanc et pur de départ évolue vers davantage de granulosité. • Les effets du paramètre Dirtsont d’autant plus marqués que les valeurs de résonance sont élevées. • La poussière peut être modulée par les sources figurant dans les menus Mod et Via. • Potentiomètre Volume : définit le niveau de sortie du générateur de bruit. Il peut être modulé par les sources figurant dans les menus Mod et Via. • Bouton Signal flow: détermine si le signal produit par le générateur de bruit doit passer par le filtre (principal) ou être envoyé directement à la section EQ (sortie). Lorsqu’il est activé, le bouton devient rouge et une flèche indique la direction du cheminement du signal. Chapitre 15 Ultrabeat 495 Remarque : le bouton Signal Flow ne concerne pas le filtre intégré au générateur de bruit. Le bouton byp situé dans le menu Type permet de désactiver celui-ci. Il est donc possible de filtrer le signal du générateur de bruit deux fois. Toutefois, dans la majorité des cas, il vaut probablement mieux éviter que le signal du générateur de bruit passe par le filtre principal, pour ne pas surcharger le filtre (composant essentiel pour la programmation des sons de batterie). Présentation de la section Ultrabeat Filter et Distortion Les signaux de sortie des deux oscillateurs, du modulateur en anneau et du générateur de bruit passent par la section Filter centrale d’Ultrabeat (sauf s’ils la contournent via les boutons de cheminement du flux). La section Filter offre un filtre multimode et une unité de distorsion. Pour en savoir plus sur les filtres de synthétiseurs, consultez Filtres. Unité Distortion Le passage des sons dans le filtre et l’unité Distortion est contrôlé par la direction de la flèche située au centre de la section Filter. Filtre multimode Pour définir l’ordre relatif au cheminement du signal via l’unité de filtrage et de distorsion µ Cliquez sur la flèche pour choisir entre les deux ordres suivants : • d’abord l’unité de distorsion, puis le circuit de filtrage (flèche vers le haut) ; • d’abord le circuit de filtrage, puis l’unité de distorsion (flèche vers le bas). 496 Chapitre 15 Ultrabeat Utilisation du filtre multimode dans Ultrabeat Ultrabeat intègre un puissant filtre multimode, qui peut modifier significativement, ou de façon subtile, le timbre de vos sons de batterie. Potentiomètre Cutoff Bouton Filter On/Off Potentiomètre Resonance Menus Mod et « via » Boutons des types et pentes du filtre • Bouton Filter(On/Off) : active ou désactive l’ensemble de la section Filter. En désactivant la section Filter, il est plus facile d’entendre les ajustements apportés aux autres paramètres sonores. En effet, les filtres influent énormément sur le son généré. Si l’étiquette Filter est rouge, cela signifie que le filtre est activé. Si elle est grise, le filtre est désactivé. • Boutons Filter Type : permet de choisir entre les types de filtre suivants : passe-bas, passe-haut, passe-bande ou réjection de bande. Consultez Choix du type de filtre dans Ultrabeat (LP, HP, BP, BR). • Boutons Filter Slope (12 et 24) : ces boutons permettent de choisir entre différentes pentes pour le filtre. Consultez la rubrique Définition de la pente du filtre d’Ultrabeat, • Potentiomètres Cutoff et Resonance : déterminent la fréquence de coupure/centre et la résonance/bande passante du filtre. Consultez Utilisation du paramètre Cutoff du filtre Ultrabeat et Utilisation du paramètre Resonance du filtre d’Ultrabeat. • Menus Mod et Via : déterminent la source de modulation (et la source via) pour les paramètres Cutoff et Resonance. Consultez Utilisation de la modulation dans Ultrabeat. Chapitre 15 Ultrabeat 497 Choix du type de filtre dans Ultrabeat (LP, HP, BP, BR) Le filtre d’Ultrabeat peut fonctionner dans plusieurs modes, ce qui permet de filtrer (couper) ou d’accentuer des bandes de fréquences spécifiques. Boutons de type de filtre Boutons de pente du filtre Pour choisir un type de filtre, sélectionnez un des boutons suivants : • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupures. Réglé en mode LP, le filtre fonctionne en passe-bas. En mode LP, la pente du filtre peut être définie sur 12 ou 24 dB/octave. • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupures. Réglé en mode HP, le filtre fonctionne en passe-haut. En mode HP, la pente du filtre peut être définie sur 12 ou 24 dB/octave. • BP (passe-bande) : la bande de fréquences entourant directement la fréquence centre (définie par le potentiomètre Cutoff) est autorisée à passer. Toutesles autresfréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 ou 12 dB/octave de part et d’autre de la fréquence centre de la bande. • BR (réjection de bande) : la bande de fréquences entourant directement la fréquence centre (définie avec le potentiomètre Cutoff) est rejetée. À l’inverse, les fréquences situées en dehors de cette bande peuvent passer. Le paramètre de résonance définit la largeur de la bande de fréquences à rejeter. Définition de la pente du filtre d’Ultrabeat La plupart desfiltres ne suppriment pas complètement la partie du signalsituée en dehors de la plage de fréquences définie par le paramètre Cutoff. Les fréquences proches de la fréquence de coupures sont généralement moins atténuées que celles plus éloignées. Plus la valeur de la pente augmente, plus la différence de niveau devient frappante entre les fréquences proches de la coupure et celles plus distantes. La pente (courbe) choisie pour le filtre exprime la quantité de réjection en décibels par octave. Le filtre propose deux pentes différentes: 12 dB et 24 dB par octave. Plus la valeur de pente est élevée, plus la pente est raide et plus l’atténuation au-delà de la fréquence de coupure est marquée pour chaque octave. 498 Chapitre 15 Ultrabeat Utilisation du paramètre Cutoff du filtre Ultrabeat Le paramètre Cutoff (Cut) contrôle l’éclat ou détermine la fréquence centre du signal. • Dans un filtre passe-bas, plus la fréquence de coupures définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupures détermine le point où lesfréquences inférieures sont supprimées, avec uniquement des fréquences supérieures autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupures détermine la fréquence centre du filtre passe-bande ou de refus de bande. Utilisation du paramètre Resonance du filtre d’Ultrabeat Le paramètre Resonance (Res) accentue ou supprime les parties du signalsituées au-dessus ou en dessous de la fréquence de coupure définie ou détermine la largeur de bande entourant la fréquence de coupure. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupures. • Dans les filtres passe-bande/de réjection de bande, la résonance détermine la largeur de la bande de fréquences entourant la fréquence centre (définie avec le paramètre Cutoff). Utilisation du circuit de distorsion Ultrabeat L’unité de distorsion produit soit un effet de grésillement, soit un effet de distorsion. L’effet de distorsion est modélisé à partir d’une unité de distorsion analogique, qui fonctionne par augmentation du niveau du signal jusqu’à écrêtage. L’effet de grésillement se base sur un processus qui réduit volontairement la résolution numérique du son (mesurée en bits), ce qui permet d’obtenir une coloration numérique intentionnelle du son. Ces deux effets conduisent à des distorsions dont la tonalité diffère autant que les deux approches utilisées. La distorsion offre un caractère plus analogique, tandis que l’effet de grésillement ne peut dissimuler ses origines numériques (il aurait du mal à les cacher). Chapitre 15 Ultrabeat 499 Remarque : la flèche située dans la section Filter détermine si le circuit de distorsion se situe avant ou après le filtre multimode (consultez Présentation de la section Ultrabeat Filter et Distortion). Potentiomètre Drive Potentiomètre Color Bouton Crush Bouton Distort Potentiomètre Level • Boutons Crush et Distort : activez le mode de votre choix. Le nom du type d’effet activé est indiqué en rouge. Si aucun bouton n’est activé, cela signifie que le circuit de distorsion n’est pas utilisé. • Potentiomètre Drive : contrôle la quantité de distorsion. • potentiomètre Color : détermine le son de base de la distorsion. Des valeurs élevées produisent un son plus clair. À l’inverse, des valeursfaibles donnent un ton plussombre et plus chaud. • Potentiomètre Level/Clip : définit, en mode Distortion, le volume de la sortie pour l’effet Distortion. En mode Effet de grésillement, ce potentiomètre définit un seuil pour les signaux entrants émis par lessourcessonores à atteindre avant le début de la distorsion (grésillement). Utilisation de la section Ultrabeat Output Selon la position des différents boutons de cheminement des signaux, les signaux de sortie des deux oscillateurs, du modulateur en anneau et du générateur de bruit sont dirigés vers la section Output d’Ultrabeat. Soit le routage est direct, soit il passe par la section Filter et Distortion. 500 Chapitre 15 Ultrabeat La section de sortie envoie les signaux dans les deux égaliseurs (EQ) et dans la section Pan Modulation/Stereo Spread (selon un ordre défini préalablement) avant la définition du niveau final pour le son sélectionné et le réglage du comportement de déclenchement. Pan Modulation Voice Volume Contrôles du mode Trigger Égaliseur deux bandes • Égaliseur deux bandes : permet de contrôler avec précision la tonalité de chaque son de batterie. • Paramètres Pan Modulation et Stereo Spread : le paramètre Pan Modulation permet de modifier la position panoramique d’un son de batterie. Stereo Spread permet d’élargir l’image stéréo. • Voice Volume : définit le volume par défaut de chaque son. • Commandes du mode Trigger : déterminent la réaction d’Ultrabeat avec les notes MIDI entrantes. Le réglage s’effectue individuellement, pour chacun des sons. Chapitre 15 Ultrabeat 501 Utilisation de l’égaliseur deux bandes d’Ultrabeat Les deux bandes de l’égaliseur ont des caractéristiques quasiment identiques. Leur configuration est expliquée en combinant leurs paramètres, mais vous pouvez, bien évidemment, ajuster la bande 1 (l’égaliseur du bas dans la section de sortie) et la bande 2 séparément. Boutons de type d’égalisation Affichage de la courbe d’égalisation Champ Q Champ de fréquence Potentiomètre Gain Bouton Band 2 Bouton Band 1 • Boutons Band 1 et Band 2 : utilisez le bouton correspondant pour activer ou désactiver une bande. Si la bande est activée, l’étiquette est rouge. Si aucun égaliseur n’est activé, le signal ne subit aucun traitement à ce stade. • La bande 1 propose un shelving bas et la bande 2 un shelving haut. • Boutons EQ type : commutent entre les deux types différents d’EQ, shelving et peak. • En mode Shelving (bouton EQ type supérieur), toutes les fréquences supérieures ou inférieures à la fréquence définie sont accentuées ou atténuées. • En mode Peak (bouton inférieur), seules les fréquences proches de la fréquence définie sont traitées. Remarque : le shelving des égaliseurs a un fonctionnement semblable aux filtres passe-bas et passe-haut du synthétiseur. La principale différence réside dans le fait que les filtres passe-bas et passe-haut permettent uniquement d’atténuer certaines fréquences, alors que le shelving des égaliseurs permet également d’accentuer ces fréquences. • Potentiomètre Gain : les valeurs positives amplifient une certaine fourchette de fréquences (identifiée par le type EQ et les réglages Hz). À l’inverse, les valeurs de gain négatives ont un effet d’atténuation sur la plage de fréquences. Si le potentiomètre Gain est réglé sur 0, l’égaliseur n’a aucun effet (position neutre). • Cliquez sur un potentiomètre Gain en maintenant la touche Option enfoncée pour le définir sur une position neutre. Vous pouvez également cliquer sur le petit 0 au-dessus du potentiomètre Gain. 502 Chapitre 15 Ultrabeat • Champ Frequency (Hz) : détermine la plage de fréquences à amplifier ou à atténuer, par un glissement vertical sur le champ de valeur Hz. • Cliquez sur le paramètre Hz tout en maintenant la touche Option enfoncée pour revenir à une position neutre. Cette position correspond à 200 Hz pour la première bande et 2 000 Hz, pour la seconde. Le choix de ces fréquences par défaut a été effectué en fonction des différentes caractéristiques de shelving pour chaque bande de fréquences. La bande 1 est conçue pour filtrer les basses fréquences et la bande 2, les hautes. • Champ Q : définit le facteur Q (qualité). Pour ce faire, effectuez un glissement vertical sur le champ de valeur Q. L’effet de ce facteur sur le son dépend largement du choix du type d’égaliseur : • Avec les filtres shelving, si la valeur Q augmente, la zone autour de la fréquence-seuil devient plus accentuée. • Avec l’EQ peak, la valeur Q détermine la largeur de la sélection de la bande de fréquences. Une valeur faible sélectionne une large bande alors qu’une valeur élevée sélectionne une bande très étroite, à amplifier ou réduire au moyen de la commande Gain. Chaque bande de l’égaliseur affiche les changements de paramètres sur une courbe de réponse en fréquence. Cette représentation permet d’accéder directement aux paramètres Gain, Hz et Q de chaque bande. Pour modifier directement la courbe EQ graphique µ Effectuez un glissement horizontal pour modifier la fréquence EQ. µ Effectuez un glissement vertical pour modifier le Gain. µ Faites glisser la poignée située au niveau de la crête (point maximum) de la courbe EQ pour modifier le facteur Q. Utilisation des paramètres Pan Modulation et Stereo Spread dans Ultrabeat Le signal de sortie de l’égaliseur est transmis à la section Pan Modulation/Stereo Spread, où le positionnement du son dans le champ stéréo peut être modulé (mode Pan Modulation). Il est également possible d’élargir la base stéréo du son (mode Stereo Spread). Mode Pan Modulation dans Ultrabeat La modulation de balance modifie la position du panorama d’un son de batterie en fonction d’une source Mod (ou Via). Chapitre 15 Ultrabeat 503 Remarque : la modulation définie ici est relative à la position du panorama indiquée dans le mélangeur Ultrabeat, dans la section d’assignation. La position du panorama (dans la table de mixage) est représentée par une fine ligne rouge. Bouton Spread Bouton Pan Mod • Boutons Pan Mod et Spread : activent le mode correspondant. Si aucun de ces modes n’est activé, le signal ne subit aucun traitement à ce stade. • Menus Mod et Via : déterminent les sources de modulation et via pour la modulation de balance. • Curseurs Mod et Via : la commande bleue de gauche et la commande verte de droite permettent de définir la valeur (intensité) de la modulation Mod et Via. Remarque : dans cette section, vous ne pouvez pas déplacer directement la ligne rouge représentant la balance. Pour ce faire, vous devez tourner le potentiomètre Pan dans la section de la table de mixage. Mode Stereo Spread dans Ultrabeat La diffusion stéréo élargit l’image stéréo, augmentant ainsi la sensation d’espace. • Curseur Lo Freq(uency) : ajuste la largeur (l’effet d’étalement) des fréquences de basses: plus la valeur est élevée, plus l’effet est marqué. • Curseur Hi Freq(uency) : permet d’ajuster la largeur des hautes fréquences. 504 Chapitre 15 Ultrabeat Contrôle du volume des sons de batterie avec le volume voix dans Ultrabeat Le bouton Volume voix permet de régler le volume de sortie des différents sons de batterie. Pour être plus exact, vous définissez le volume maximum du son de batterie sélectionné avec Env 4, après la phase d’attaque d’Env 4. Remarque : l’enveloppe 4 (Env 4) est « câblée en dur » au niveau du volume voix (le contrôle du volume pour le son sélectionné). Chacun des sons du mélange comporte trois autres enveloppes, ainsi que d’autressources de modulation, permettant de contrôler d’autres paramètres de synthèse. Potentiomètre Voice Volume L’intensité de l’effet de l’enveloppe 4 sur le volume voix peut être modulée par la source Via. Remarque : le réglage du volume voix précède celui des curseurs de mixage. Vous pouvez ainsi commencer à ajuster le volume de chaque son de batterie, un par un, indépendamment de leurs niveaux relatifs dansle mixage de l’ensemble de batterie (dont le réglage s’effectue au niveau du mélangeur de la section d’assignation). Chapitre 15 Ultrabeat 505 Modification du mode mode Trigger dans Ultrabeat Le mode de traitement, dans Ultrabeat, d’une succession de notes entrantes est défini pour chaque son, de façon individuelle. Les paramètres permettant de contrôler cet aspect du comportement d’Ultrabeat se situent dans la section relative au mode Trigger, en dessous du potentiomètre Voice Volume. Menu Déclencheur Menu Group Bouton Gate • Menu local Trigger : vous permet de choisir entre les modes de déclenchement Simple et Multi. • Single : le déclenchement d’une nouvelle note coupe la note actuellement jouée. • Multi : lorsqu’une nouvelle note est jouée, les notes actuellement jouées poursuivent leur chute selon les réglages de leur enveloppe d’amplitude respective (Env 4). • Menu local Group : vous permet de choisir entre l’option Désactivé et les réglages 1 à 8. Si deux sons différents sont affectés au même groupe, ils se coupent mutuellement à la réception d’un nouveau message de note. Vous ne pouvez jouer qu’un son à la fois dans le groupe. • Cette fonction est généralement utilisée pour programmer des sons de charleston : lorsque vous utilisez un vrai charleston, la note produite par les cymbales qui se ferment coupe le son des cymbales ouvertes. Cette fonction est souvent appelée « mode hi-hat ». Remarque : en mode Single Trigger,seule la note (du même son)sonnant actuellement est coupée. En revanche, si le son est affecté à un groupe, il coupe tous les autres sons du groupe, quelle que soit la note. • Bouton Gate : active ou désactive la fonction Gate. Si celle-ci est activée, le son est coupé dès que la note MIDI n’est plus enfoncée (relâchement de la note MIDI), indépendamment des réglages de l’enveloppe. Remarque : la fonction Gate permet d’empêcher qu’un son donné continue à être joué (donc à être audible) au-delà d’un événement de relâchement de note dans un séquenceur hôte, tel que Logic Pro, ou un séquenceur interne à Ultrabeat. La longueur des notes peut être un élément créatif important lors de la programmation des pistes rythmiques. 506 Chapitre 15 Ultrabeat Utilisation de la modulation dans Ultrabeat La plupart des paramètres de son peuvent être contrôlés dynamiquement (modulés) dans Ultrabeat. Ultrabeat fournit deux LFO, quatre générateurs d’enveloppe, un contrôleur de vélocité et quatre contrôleurs MIDI librement définissables en tant que sources de modulation. Le réglage des processus de modulation suit un principe universel : Les processus de modulation Ultrabeat reposent sur trois éléments clés : • la cible de modulation, : c’est-à-dire le paramètre du synthétiseur à moduler ; • la source de modulation, : c’est-à-dire le paramètre qui module la cible ; • la source Via, : c’est-à-dire une source de modulation secondaire pouvant affecter l’intensité de la première source de modulation. Remarque : vous pouvez utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs processus de modulation. Modulations Mod et Via dans Ultrabeat Le paramètre Mod vous permet de moduler un paramètre de son à l’aide d’une valeur ajustable (le taux ou l’intensité de modulation). Les sources de modulation disponibles sont les suivantes : deux LFO, quatre générateurs d’enveloppe et Max. Via permet de préciser davantage l’effet de modulation. En effet, la profondeur de la première modulation (Mod) peut être modulée par une source distincte et autonome. L’intensité de l’effet est indiquée à l’aide du paramètre Via. Les sources des modulations Via comprennent le contrôleur de vélocité et quatre contrôleurs MIDI pouvant être définis librement. L’augmentation de la vitesse de balayage de la hauteur tonale si la vélocité est élevée est un exemple classique d’utilisation de la modulation Via. Pour ce faire, vous devez utiliser : • une enveloppe (Env) comme source Mod pour la hauteur tonale d’un oscillateur ; • la vélocité (Vél.) comme source via. Plusla touche est enfoncée fermement, plusle son généré est élevé (en termes de hauteur tonale), ce qui est idéal pour des sons de toms synthétisés par exemple. Exemples de modulations avec Ultrabeat Voici un exemple permettant de mieux en comprendre le fonctionnement : Chapitre 15 Ultrabeat 507 Par défaut, la valeur du paramètre Cut (Cutoff) est de 0,50. Dansl’image ci-dessous, aucune source de modulation n’a été sélectionnée, que ce soit dans le menu bleu, Mod, ou le menu vert, Via (les deux boutons sont désactivés). Dès qu’une source de modulation estsélectionnée dansle menu Mod (Env 1 dansl’image ci-dessous), l’anneau entourant le potentiomètre rotatif devient actif. Faites glisser l’anneau afin de définir la valeursouhaitée (0,70 dansl’exemple) pour le paramètre Cut (si la source Mod l’affecte). Remarque : les valeurs exactes sont indiquées dans les info-bulles correspondant aux différents paramètres que vous réglez. Dès qu’une source de modulation estsélectionnée dansle menu Via (Ctrl + A dansl’image ci-dessous), un curseur apparaît sur l’anneau Mod. Faites glisser ce curseur afin de définir la valeur de modulation maximale pouvant être atteinte avec la source Via (0,90 par exemple). Les réglages sont à présent terminés. Que signifient les repères figurant autour du potentiomètre Cut ? Que se passe-t-il au niveau du son ? Les commandes Mod et Via indiquent les valeurs minimale et maximale que le paramètre modulé peut atteindre par rapport à sa valeur par défaut. 508 Chapitre 15 Ultrabeat Dans cet exemple, la fréquence de coupure du filtre est définie sur 0,50 (valeur par défaut). La source Mod (Env 1) augmente la valeur de 0,50 à 0,70 lors de la phase d’attaque et la redescend à 0,50 lors de la phase de chute. Lorsque la source Via (Ctrl A) est introduite, les interactions suivantes se produisent : si Ctrl A reste à sa valeur minimale, rien ne change ; l’enveloppe (Env 1) continue de moduler Cutoff entre les valeurs 0,50 et 0,70. En revanche, la valeur maximale de Ctrl A conduit le générateur d’enveloppe à faire varier le paramètre entre 0,50 (valeur de coupure par défaut) et 0,90 (amplitude Via). En un clin d’œil, vous pouvez voir le degré d’impact maximum dessources de modulation Mod et Via sur les paramètres de base. La zone située entre les points Mod et Via montre à quel degré le taux de modulation peut être encore modifié par la source de modulation Via. Dans notre exemple, la coupure peut atteindre les valeurs comprises entre 0,70 et 0,90, selon la valeur transmise par Ctrl A. Voici un autre exemple : La coupure est de nouveau définie à 0,50, mais Env 1 descend désormais la valeur à 0,25 et une valeur maximale Ctrl A réduit la fréquence de coupure à 0. L’exemple suivant illustre la facilité d’utilisation et la rapidité des options de modulation Ultrabeat : Dans cet exemple, l’intensité de modulation de l’Env 1, qui affecte la Fréquence de coupure, est contrôlée avec les dynamiques du jeu (Vél.). La modulation Via secondaire contrôle également sa direction. Essayez d’effectuer ces réglages dans Ultrabeat afin de créer des sons particulièrement intéressants. Création d’un processus de modulation dans Ultrabeat Les indications suivantes s’appliquent à tous les paramètres qui offrent des options de modulation Mod (et Via). Chapitre 15 Ultrabeat 509 Pour créer un processus de modulation 1 Cliquez sur l’étiquette Mod du paramètre souhaité pour ouvrir le menu local Mod. 2 Dans le menu, choisissez un des réglages relatifs à la source de modulation : • Le paramètre Off désactive le processus de modulation ; il n’est alors plus possible d’utiliser la commande Mod. Dans ce cas de figure, aucune modulation Via ne peut être effectuée. En effet, il n’existe plus aucune cible de modulation Via. En outre, la commande Via est masquée. • Les réglages Env définissent un des générateurs d’enveloppe comme source de modulation • Le réglage Max conduit à une modulation statique, au plus haut niveau. Dans ce cas, le paramètre Via est affecté directement à la cible de modulation. La vélocité peut alors être utilisée comme source de modulation directe, même si elle n’est pas disponible en tant que source dans le menu Mod. Astuce : vous pouvez également définir un équilibreur MIDI externe avec Ctrl A, B, C ou D (consultez Utilisation des contrôleurs MIDI A–D d’Ultrabeat). Vous pouvez alors utiliser l’élément de menu Max. pour router la source Via (Ctrl A, B, C ou D) au paramètre que vous souhaitez contrôler à l’aide de l’un des curseurs de votre équilibreur MIDI. 3 Si vous souhaitez assigner une source Via, cliquez sur Via pour ouvrir le menu local correspondant. 510 Chapitre 15 Ultrabeat 4 Choisissez Vél. ou l’un des paramètres Ctrl A à Ctrl D. • Vel représente la vélocité. • Ctrl A à Ctrl D représentent les quatre contrôleurs continus pouvant être affectés aux quatre contrôleurs MIDI externes. Cette correspondance est effectuée dans la zone d’assignation de contrôleur MIDI, située dans la partie supérieure droite de la fenêtre Ultrabeat. Les correspondances définies s’appliquent à l’ensemble des sons dans l’instance de module Ultrabeat active. 5 Réglez les commandes Mod et Via selon vos souhaits. Utilisation des contrôleurs MIDI A–D d’Ultrabeat La zone d’assignation de contrôleur MIDI (dansla partie supérieure de la fenêtre Ultrabeat) vous permet d’attribuer n’importe lequel des contrôleurs MIDI présents dans les menus à chacun des quatre logements de contrôleur : Ctrl A, B C ou D. Ces assignations permettent aux contrôleurs MIDI externes, comme les curseurs, les potentiomètres, aftertouch ou la roulette de modulation de votre clavier MIDI, de contrôler les sources de modulation Via dans Ultrabeat. Pour assigner un contrôleur µ Ouvrez le menu de contrôle de votre choix (Ctrl A-D) et choisissez, dans la liste, le nom ou le numéro de contrôleur à utiliser. Pour apprendre l’assignation de contrôleurs via MIDI 1 Ouvrez le menu de commandes de votre choix et sélectionnez l’élément de menu Learn. 2 Déplacez le contrôleur de votre choix sur votre clavier ou votre contrôleur MIDI. Remarque : si aucun message MIDI adéquat n’est renvoyé dans les 20 secondes, la commande sélectionnée revient à la valeur/assignation précédente. Chapitre 15 Ultrabeat 511 Présentation des LFO d’Ultrabeat Parmi les sources de modulation possibles, deux LFO identiques sont disponibles dans le menu Mod. Le terme LFO est l’abréviation de low frequency oscillator (oscillateur basse fréquence). Le signal LFO est utilisé comme source de modulation. Avec un synthétiseur analogique, la fréquence LFO se situe généralement entre 0,1 et 20Hz (au-delà du spectre de fréquences audibles). Par conséquent, ce type d’oscillateur est utilisé uniquement pour la modulation. Remarque : la fréquence du LFO Ultrabeat peut atteindre 100 Hz, offrant ainsi un grand nombre de possibilités par rapport aux synthétiseurs analogiques. Les paramètres relatifs aux deux LFO d’Ultrabeat sont décrits ci-dessous. Vous pouvez librement régler les LFO 1 et 2, de façon individuelle. Boutons Sync et Free Boutons LFO 1/LFO 2 Bouton On/Off Potentiomètre Ramp Potentiomètre Cycles Affichage Oscilloscope Forme de l’onde Potentiomètre Rate • Boutons LFO 1 et 2 : sélectionnez le LFO concerné, afin de régler ses paramètres de façon individuelle. • Bouton On/Off : active ou désactive le LFO sélectionné. • Boutons Sync/Free : la vitesse du LFO (Rate) peut être définie de manière individuelle (Free) ou synchronisée (Sync) par rapport au tempo de l’application hôte. Cliquez sur l’un de ces deux boutons pour activer le mode correspondant. • Potentiomètre Rate : définit la vitesse du LFO. Selon le réglage choisi (Free/Sync), la fréquence est indiquée en Hertz ou en valeurs rythmiques (ces dernières lorsque la synchronisation du tempo du projet est active). La plage rythmique va de la quadruple-croche à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. • Curseur(et affichage) WaveformShape : détermine la forme d’onde du LFO. Faites glisser le curseur de gauche à droite pour faire évoluer la forme d’onde vers une courbe triangulaire, en dents de scie,sinusoïdale, carrée et enfin rectangulaire, ce qui comprend également l’ensemble des variationsintermédiaires. Si le curseur est placé complètement à droite, le LFO génère des formes d’onde aléatoires. L’affichage graphique montre la forme d’onde actuelle du LFO. 512 Chapitre 15 Ultrabeat • Potentiomètre et champ Cycles : détermine le nombre de cycles de la forme d’onde du LFO. Consultez Utilisation du paramètre Cycles pour les formes d’onde des LFO d’Ultrabeat. • Potentiomètre et champ Ramp : contrôle le temps nécessaire à la modulation LFO pour effectuer un fondu entrant ou sortant. La valeur Ramp est indiquée en millisecondes dans le champ correspondant au paramètre. • Tournez le potentiomètre Ramp versla droite pour définir la durée d’attaque du LFO. • Tournez-le vers la gauche pour définir le temps de descente. • En position médiane, il n’a aucun effet sur le LFO. Utilisation des formes d’onde des LFO Ultrabeat Le curseur Waveform Shape vous permet de choisir différentes formes d’onde pour les deux LFO. Le tableau ci-dessous définit de quelle manière ces formes d’onde peuvent affecter vos sons. Les formes d’onde intermédiaires produisent des formes d’onde et des comportements hybrides. Waveform Commentaires Triangle Convient bien aux effets de vibrato Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées de la hauteur tonale avec une onde en dents de scie génèrent des sons de type bulle. Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance des filtres passe-bas, créent des effets rythmiques. En dents de scie Idéal pour les modulations lisses et régulières. Sa position sur le curseur Waveform Shape vous permet de faire progressivement évoluer l’onde vers des formes carrées/rectangulaires et en dents de scie. Sinusoïdale Les ondes carrées/rectangulaires font varier régulièrement le signal LFO entre deux valeurs. La forme d’onde rectangulaire de droite évolue entre une valeur positive et zéro. La forme d’onde rectangulaire de gauche passe d’une valeur positive à une valeur négative, symétriques par rapport à zéro. Carré et Rectangle La forme d’onde à droite sur le curseur Waveform Shape génère des valeurs aléatoires. Une valeur aléatoire est déterminée à intervallesréguliers,selon la fréquence du LFO. L’expression Sample & Hold (S & H) fait référence à la prise d’échantillons d’un signal de bruit à intervallesréguliers. La valeur de ces échantillons est ensuite maintenue jusqu’à l’échantillonnage suivant. Astuce : une modulation aléatoire de hauteur tonale produit l’effet de génération demodèle de tonalité aléatoire, communément appelé « sample and hold ». Essayez cette modulation avec des notes très aiguës, à desfréquences et intensitéstrès élevées, vousreconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Chapitre 15 Ultrabeat 513 Utilisation du paramètre Cycles pour les formes d’onde des LFO d’Ultrabeat Normalement, un LFO oscille en permanence. Cependant, pour les signaux percussifs, il peut être intéressant de limiter les cycles du LFO (répétitions de toute la forme d’onde) à un nombre déterminé. Ultrabeat vous permet d’indiquer le nombre de cycles LFO dans le paramètre Cycles. Une fois ce nombre défini atteint, le LFO cesse d’osciller. Astuce : essayez des valeurs Cycles faibles, avec la source du LFO utilisée pour contrôler le volume (niveau) d’un oscillateur, ou des deux. Cela permet de créer des effets de claquements de mains et de roulement typiques. La plage de valeurs pour le paramètre Cycless’étend de 1 à 100. Tournez le potentiomètre complètement à droite pour choisir la valeur maximale et créer ainsi un nombre infini de cycles (comportement LFO standard). Une valeur de cycle de 1 permet au LFO de fonctionner comme un générateur d’enveloppe supplémentaire, mais simple. Le paramètre Cycles peut également déterminer si le LFO (forme d’onde) commence en partant du point initial zéro à chaque déclenchement de note ou s’il continue simplement à osciller. La valeur de cycles Infini force le LFO à osciller librement. Il n’est pas réinitialisé à chaque message de note MIDI entrante. Lorsque le paramètre Cycles est défini sur des valeurs inférieures à 100, le LFO est réinitialisé à chaque nouveau message de note MIDI entrante (réinitialisation à chaque nouvelle note). Le choix de déclencher un cycle LFO à partir du même point ou de laisser le LFO osciller librement, indépendamment de la phase n’est qu’une question de goût. La partie aléatoire dans la libre oscillation des LFO peut alourdir de nombreux sons. Toutefois, cela peut nuire à l’attaque des sons percussifs, ce qui n’est pas optimal pour un certain nombre de sons de batterie. Remarque : vous pouvez, bien sûr, tirer avantages des légères déviations de la phase LFO (avec la valeur Cycle définie sur Infini), en ajoutant un caractère analogique au son de batterie, par exemple. Présentation des enveloppes d’Ultrabeat (Env 1 à Env 4) Les générateurs d’enveloppe sont d’autres sources de modulation dont vous disposez dans le menu Mod. Remarque : pour en savoir plus sur l’expression « générateur d’enveloppe » et ses fonctionnalités de base, consultez Commandes d’enveloppe Attack, Decay, Sustain et Release (ADSR). 514 Chapitre 15 Ultrabeat Ultrabeat présente quatre générateurs d’enveloppe identiques par voix. Ils sont désignés par les abréviations Env 1 à Env 4. Outre son utilisation potentielle en tant que source de modulation (dans les menus Mod des différents paramètres de son), Env 4 dispose d’une connexion permanente avec le paramètre Volume voix. En d’autres termes, chaque son de batterie d’Ultrabeat dispose d’un générateur d’enveloppe de volume câblé en dur, à savoir Env 4. Le comportement par défaut des générateurs d’enveloppe est appelé mode enveloppe à déclenchement unique : lorsqu’on appuie sur une touche (message à chaque note), les enveloppes suivent leur cours, quelle que soit la durée pendant laquelle la touche est maintenue enfoncée. Ce réglage convient parfaitement aux signaux percussifs car il permet d’émuler le comportement naturel des instruments à percussion acoustiques. Dans des cas particuliers, par exemple pour des sons de cymbales tenus, vous pouvez activer le mode Sustain. Les enveloppes suivent alors la durée des notes jouées. Modification graphique des enveloppes d’Ultrabeat La zone d’affichage relative aux enveloppes d’Ultrabeat fournit un mode de conception d’enveloppes unique, incluant des courbes de Bézier dans lesquelles deux segments, l’attaque et la chute, constituent l’ensemble de l’enveloppe. Prise en main de la durée d’attaque Prise en main de la durée de chute Prise en main de la courbe de chute Prise en main de la courbe de chute Prise en main de la courbe d’attaque Prise en main de la courbe d’attaque Dans la représentation d’une enveloppe, vous pouvez distinguer plusieurs poignées (points de jonction) de deux tailles différentes. Les deux poignées les plus larges sur l’axe des abscisses (l’axe horizontal, ou l’axe du temps, en bas) contrôlent respectivement la durée d’attaque et le temps de chute. Une ligne verticale part de la première des deux poignées (attaque) et divise l’enveloppe en phases d’attaque et de chute. Les deux segments contiennent chacun deux petites poignées de courbe. Vous pouvez lesfaire glisser dans n’importe quelle direction afin de déformer le contour de l’enveloppe et de définir librement son amplitude. Chapitre 15 Ultrabeat 515 Vous pouvez également les faire glisser n’importe où sur la courbe elle-même afin de transformer l’enveloppe. Utilisation des paramètres d’enveloppe d’Ultrabeat Pour modifier les paramètres d’une enveloppe, vous devez d’abord sélectionner une des quatre enveloppes à l’aide des boutons 1 à 4. Les paramètres de l’enveloppe sélectionnée peuvent alors être modifiés dans la fenêtre d’affichage des enveloppes. Boutons 1 à 4 Défilement Zoom Boutons Zoom Prise en main de la durée de chute Bouton Sustain Menu Env mod Curseur Mod (via vel) Prise en main de la durée d’attaque • Boutons 1à 4 : permettent de sélectionner une des quatre enveloppes. Seule l’enveloppe sélectionnée peut être modifiée. Le contour du bouton correspondant à l’enveloppe choisie est mis en surbrillance et l’affichage de l’enveloppe est automatiquement mis à jour afin de refléter votre sélection. • Poignée Temps de montée : définit le temps que met l’enveloppe pour atteindre sa valeur maximale après avoir reçu un message de note. Cette période est appelée la phase d’attaque. • Poignée Temps de chute : détermine le temps que met l’enveloppe à redescendre vers une amplitude 0, après avoir atteintsa valeur maximale (définie dansla phase d’attaque). Remarque : vous pouvez librement modifier la durée et la forme de l’enveloppe dans la phase d’attaque ou de chute. Consultez Modification graphique des enveloppes d’Ultrabeat. • Champ de défilement Zoom : permet de redimensionner le contenu visible de la zone d’’affichage de l’enveloppe lorsque vous effectuez un glissement horizontal. • Menu de modulation Envelope : détermine la cible de modulation (soit la durée, soit la forme de la phase d’attaque ou de chute de l’enveloppe) par vélocité. Vous avez le choix entre Durée A, Forme A, Durée D et Forme D. • Curseur “Mod” (via vel) : détermine l’intensité de la modulation de vélocité de la cible spécifiée dans le menu de modulation Envelope. • Lorsque vous modulez la forme, l’enveloppe s’affaisse si les valeurs de vélocité sont faibles. Inversement, l’enveloppe se gonfle si les valeurs sont élevées. 516 Chapitre 15 Ultrabeat • Lorsque vous modulez la durée, l’augmentation des valeurs de vélocité conduit au raccourcissement de la longueur du segment considéré. Des valeurs de vélocité faibles, à l’inverse, augmentent la longueur du segment. • Bouton Sustain : lorsque ce bouton est activé, une poignée rouge (et une ligne verticale) s’affiche sur l’axe des abscisses. Vous pouvez déplacer la poignée horizontalement, mais uniquement au sein de la phase de chute de l’enveloppe. L’amplitude atteinte par l’enveloppe au niveau du point de jonction Sustain est prolongée jusqu’à ce que la note MIDI soit relâchée. Remarque : si le bouton Sustain n’est pas activé, l’enveloppe utilise le mode « one-shot » et la longueur de la note (commande de relâchement MIDI) n’est pas prise en compte. • Bouton Zoom (à adapter) : augmente la taille de l’enveloppe pour qu’elle remplisse toute la largeur de la zone d’affichage. Il vous est ainsi plus facile d’ajuster les points de jonction et les courbes. Remarque : lorsque la fonction Zoom est sélectionnée, la poignée de chute peut être déplacée complètement à droite de la zone d’affichage de l’enveloppe, afin d’augmenter le temps de chute. Lorsque vous relâchez le bouton de la souris, le graphique de l’enveloppe est automatiquement redimensionné en fonction de la zone d’affichage. • Boutons zoomA/D: affiche uniquement la phase d’attaque (A) ou de chute (D)sur toute la largeur de la zone d’affichage de l’enveloppe. Vous pouvez ainsi modifier les formes d’enveloppe plusfacilement et plus précisément (jusqu’à des valeurs en millisecondes). Chapitre 15 Ultrabeat 517 Affichage Modulation Target dans Ultrabeat LFOs and Envelopes L’interface utilisateur d’Ultrabeat comporte une fonction qui facilite la recherche des cibles de modulation des LFO et des enveloppes : il vous suffit de cliquer sur le champ numérique de la source de modulation souhaitée pour mettre en surbrillance toutes ses cibles. Cible de modulation sélectionnée pour l’enveloppe 1 Cliquez ici pour sélectionner toutes les cibles de modulation de l’enveloppe 1. Utilisation du séquenceur pas à pas d’Ultrabeat Ultrabeat intègre également un puissant séquenceur pas à pas, que vous pouvez utiliser pour créer des modèles et séquences rythmiques polyphoniques. Ce séquenceur affiche des commandes de style « défilement de LED» comme sur les boîtes à rythmes classiques, et reprend certaines des méthodes de création de séquences et de motifs utilisées avec ces appareils. Le séquenceur d’Ultrabeat développe lesfonctionnalités des boîtes à rythmes matérielles en recourant largement à des fonctionnalités d’automation et d’édition. Celles-ci vous permettent de faire varier, de façon précise, le timbre du son et les dynamiques globales, à tout endroit du motif. Le séquenceur joue un rôle important dans la mise en forme des rythmes et des sons que vous pouvez produire avec Ultrabeat. 518 Chapitre 15 Ultrabeat Le séquenceur pas à pas permet de combiner tous les sons Ultrabeat en motifs, selon les séquences des différentssons. Sa conception etson utilisation (entrée de programmation pas à pas) sont basées sur des séquenceurs et des boîtes à rythmes analogiques. Cependant, contrairement à ces prédécesseurs analogiques, Ultrabeat vous permet de programmer des changements automatiques pour presque tous les paramètres du synthétiseur. Selon vos goûts personnels et votre style de musique préféré, vous souhaiterez, pour la programmation de rythmes, contrôler Ultrabeat via le séquenceur pas à pas intégré ou à partir de MainStage. Il est également possible de combiner les deux séquenceurs. En effet, ils peuvent être activés en même temps. Dans ce cas, ils se synchronisent automatiquement. Logic Pro fait alors office d’horloge de référence et détermine le tempo du séquenceur pas à pas interne d’Ultrabeat. Si vous ne connaissez pas le concept de « séquencement pas à pas », la section suivante vous aidera à comprendre la conception du séquenceur pas à pas d’Ultrabeat. Fonctionnement des séquenceurs pas à pas Le principe de base au cœur des séquenceurs pas à pas analogiques est de configurer une progression de tensions de contrôle et de les « sortir » pas à pas, généralement dans un motif se répétant indéfiniment. Ce principe a permis de créer un certain nombre de styles musicaux électroniques dont l’attrait réside dansl’effet hypnotisant de la répétition des motifs. Au départ, trois tensions de contrôle étaient généralement créées par pas, permettant ainsi de gérer différents paramètres. En général, elles concernaient le contrôle de la tonalité (pitch), de l’amplitude et du timbre (cutoff) du son pour chaque pas. La surface de contrôle des séquenceurs analogiques présentait souvent trois rangées de potentiomètres ou de boutons alignés les uns au-dessus (ou à côté) des autres. Chaque rangée contenait généralement 8 ou 16 pas, ainsi qu’une sortie de tension de contrôle, reliée à une entrée de contrôle (pour un paramètre donné) sur un synthétiseur. Une impulsion de déclenchement définissait le tempo des pas. Un défilement à LED (succession de diodes électroluminescentes) indiquait le pas actuellement déclenché. Le concept de programmation à défilement à LED a, par la suite, été utilisé dansles boîtes à rythmes, dont les plus connues étaient les Roland de la série TR. L’introduction de la norme MIDI et l’utilisation croissante des ordinateurs personnels pour faire de la musique ont conduit à un rapide déclin du séquenceur pas à pas et des technologies associées. L’ordinateur personnel, bien plus puissant, permettait alors d’utiliser des concepts d’enregistrement et d’arrangement ne reposant passur le principe des pas et des motifs. Chapitre 15 Ultrabeat 519 Malgré ces avancées technologiques, les séquenceurs pas à pas n’ont toutefois pas totalement disparu. Les Groove Box matérielles ont connu un net regain de popularité ces dernières années et leur maniement intuitif en fait désormais un outil de programmation rythmique très apprécié. Le séquenceur pas à pas d’Ultrabeat associe les avantages et les principes de fonctionnement généraux de ses prédécesseurs analogiques à des options de contrôle beaucoup plusflexibles, portant ainsi la programmation rythmique moderne à un niveau jamais atteint. Présentation du séquenceur pas à pas d’Ultrabeat Le séquenceur pas à pas d’Ultrabeat contient une séquence pour chaque son d’un ensemble de batterie. Chaque séquence peut comprendre 32 pas. Un motif contient touteslesséquences d’un ensemble de batterie.Jusqu’à 24 motifs peuvent être enregistrés et rappelés avec chaque réglage d’Ultrabeat. Paramètres de Pattern Grille des pas Paramètres de Pattern Paramètres globaux Le séquenceur est divisé en trois sections. • Paramètres globaux : permettent au séquenceur pas à pas de contrôler la lecture, d’accéder à différents modes et de contrôler l’impression globale à la lecture . • Paramètres Pattern : permettent de contrôler la durée et la résolution du motif actuellementsélectionné. Vous pouvez également accentuer les différents pas du motif, pour chaque son de batterie. • Grille des pas : c’est ici que s’effectue le séquencement à proprement parler. Une séquence pouvant comporter jusqu’à 32 pas s’affiche pour le son actuellement sélectionné dans la section d’assignation. Vous pouvez ajouter, supprimer ou modifier des événements dans la grille. Remarque : un autre affichage vous permet de voir et de modifier simultanément les pas de tous les sons de batterie du motif. Consultez Affichage de Ultrabeat Step en plein écran. 520 Chapitre 15 Ultrabeat Utilisation des paramètres globaux du séquenceur Ultrabeat Les paramètres s’appliquant de manière globale à tous les patterns sont décrits ci-après. Bouton On/Off Bouton Transport Potentiomètre Swing Bouton Edit Mode • Bouton On/Off : active ou désactive le séquenceur pas à pas. • Bouton Edit Mode : permet de choisir entre le mode Voice et le mode Step. • Mode Voice (par défaut) : dans ce mode, la modification des paramètres d’un son de batterie définit les paramètres du son de batterie lui-même. • Mode Step : vous permet d’automatiser les paramètres d’un son d’un pas vers le suivant. Pour en savoir plus, consultez Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat. • Bouton Transport : lance et arrête le motif du séquenceur. Le séquenceur pas à pas est toujours synchronisé sur le tempo de l’application hôte. Remarque : si le bouton Transport est bleu, le séquenceur considère les notes MIDI entrantes (situées entre C1 et B0, soit Do1 et Si0) comme des informations d’interprétation. Pour en savoir plus, consultez Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat. • Potentiomètre Swing : détermine l’intensité du swing pour touslessons dont la fonction Swing est activée (consultez Utilisation de la fonction Swing d’Ultrabeat). Chapitre 15 Ultrabeat 521 Utilisation des paramètres de motif d’Ultrabeat Un motif contient tous les événements, stockés en séquences, des 25 sons. Tout en bas de la fenêtre Ultrabeat, vous pouvez sélectionner un des 24 motifs et définir les paramètres affectant de façon globale la totalité des sons du mélange. Barre de longueur Menu Pattern Champ Length Bouton d’activation Swing Curseur Accent Bouton d’activation/désactivation Accent Menu Resolution • Menu Pattern : il vous permet de choisir un pattern parmi les 24 disponibles. • Champ et barre Lenght : définit la durée du motif. Vous pouvez ajuster la longueur de la grille en déplaçant la valeur du paramètre Lenght ou la barre située sous les boutons Swing. • Menu Resolution : détermine la résolution du motif. Il définit l’unité métrique utilisée pour une mesure représentée par des pas distincts. Par exemple, si la résolution est de 1/8, chaque pas de la grille représente une croche. Si la durée du motif est de 32 pas, celui-ci s’exécute sur 4 mesures (le motif de 32 pas s’applique à l’intégralité de la grille et, par conséquent, à tous les sons de la même manière). Remarque : si vous utilisez conjointement les paramètres Length et Resolution, vous pouvez créer différents types de mesures. Par exemple, les valeurs Durée = 14 et Résolution = 1/16 donnent une mesure à 7/8, Durée = 12 et Résolution = 1/16 une mesure à 3/4, Durée = 20 et Résolution = 1/16 une mesure à 5/4. • Bouton et curseur Accent: permettent d’appuyer fortement ou d’accentuer certains pas. Consultez Utilisation des accentuations dans Ultrabeat. • Bouton Swing Enable : si ce bouton est activé, la grille du son actuellement sélectionné est jouée conformément au réglage du potentiomètre Swing. Consultez Utilisation de la fonction Swing d’Ultrabeat. Copie et réorganisation des motifs d’Ultrabeat Vous pouvez réorganiser les 24 motifs dans le menu Pattern à l’aide des commandes Copy et Paste. Pour copier un pattern à l’aide d’un menu contextuel 1 Sélectionnez un motif dans le menu Pattern. 522 Chapitre 15 Ultrabeat 2 Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur le menu Pattern, puis choisissez Copy dans le menu contextuel. 3 Sélectionnez le motif cible dans le menu Pattern. 4 Cliquez tout en maintenant la touche Ctrl enfoncée sur le menu Pattern, puis choisissez Paste dans le menu contextuel. Vous pouvez également utiliser un raccourci clavier pour copier des motifs. Pour copier un motif via un raccourci clavier 1 Sélectionnez le motif musical souhaité dans le menu Pattern. 2 Appuyez sur Option, ouvrez le menu Pattern et sélectionnez un autre pattern Ultrabeat. Le pattern cible est alors remplacé. Remarque : n’oubliez pas que toutes les données de séquenceur présentes dans le motif cible sont remplacées. Si vous changez d’avis en cours de processus, sélectionnez le numéro du pattern source. Pour sélectionner un pattern 1 Sélectionnez le motif musical souhaité dans le menu Pattern. 2 Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur le menu Pattern, puis choisissez Clear dans le menu contextuel. Utilisation de la fonction Swing d’Ultrabeat La fonction Swing modifie la distance entre les notes. Seuls les pas pairs sont affectés par le paramètre Swing. Les notes situées sur les pas impairs restent à leur place. Les battements affectés dépendent de la valeur du paramètre Resolution sélectionnée : par exemple, si le paramètre Resolution est défini sur 1/8 et Length sur 8, les notes des pas 1, 3, 5 et 7 représentent les noires de la mesure. Elles ne sont pas affectées par ces modifications. Seules les croches intermédiaires (pas 2, 4 et ainsi de suite) sont décalées par la fonction Swing. L’ampleur du décalage est fonction de l’intensité du swing (définie avec le potentiomètre Swing). Remarque : la fonction Swing n’est active que sur desrésolutions de grille de 1/8 (croche) et 1/16 (consultez Utilisation des paramètres de motif d’Ultrabeat). Pour utiliser la fonction Swing 1 Cliquez sur le bouton Swing Enable. Si ce bouton est activé, la grille du son actuellementsélectionné est jouée conformément au réglage du potentiomètre Swing. 2 Réglez le potentiomètre Swing. Chapitre 15 Ultrabeat 523 La fonction Swing n’est pas activée sison réglage estsur 0, c’est-à-dire si le potentiomètre est complètement à gauche. Tournez le potentiomètre vers la droite pour décaler les notes affectées vers la note suivante. Présentation de la grille des pas d’Ultrabeat La grille des pas affiche des pas de séquence sur deux rangées. Les pas présents dans ces rangées correspondent au son actuellement sélectionné dans la zone d’assignation. Si vous choisissez un autre son, l’affichage du séquenceur change afin de représenter les rangées du nouveau son sélectionné. La zone de la grille des pas contient deux rangées, comprenant chacune 32 champs(pas). Rangée Trigger Rangée Velocity/Gate • Rangée Trigger : cliquez sur l’un des boutons de cette rangée pour activer ou désactiver le son du battement correspondant. • Rangée Velocity/Gate : définit la longueur (temps de Gate) et la vélocité des pas entrés dansla rangée Trigger. Ces deux paramètressont représentéssousla forme d’une barre graphique unique. La hauteur de la barre représente la vélocité. Sa longueur, de gauche à droite, indique la durée de la note. Création et suppression de pas dans la rangée Trigger d’Ultrabeat La rangée Trigger comprend des boutons numérotés de 1 à 32, qui représentent les pas ou les battements de la séquence sélectionnée. Les événements de déclenchement de notes sont placés sur les pas correspondants. c’est ici que vous indiquez quand (sur quel battement) le son sélectionné doit être joué. Remarque : vous pouvez créer et supprimer des pas même si le séquenceur est activé. Pour créer un pas 1 Dans la section d’assignation, sélectionnez un son. 2 Cliquez sur le bouton On pour activer le séquenceur de pas. 524 Chapitre 15 Ultrabeat 3 Choisissez un motif, ainsi que la durée et la résolution. Pour en savoir plus, consultez Utilisation des paramètres de motif d’Ultrabeat. 4 Cliquez sur les boutons de votre choix (de 1 à 32) pour activer ou désactiver le son sélectionné sur le battement correspondant. Dans l’exemple précédent, il s’agit des pas 1 et 6. Remarque : un autre affichage vous permet de voir et de modifier simultanément les pas de tous les sons de batterie du motif. Consultez Affichage de Ultrabeat Step en plein écran. Pour supprimer un pas 1 Assurez-vous que le son concerné est sélectionné dans la section d’assignation. 2 Cliquez sur les boutons de votre choix (de 1 à 32) correspondant aux pas à supprimer. Remarque : effectuez un glissement horizontalsur les boutons pour activer ou désactiver rapidement les événements de déclenchement. Utilisation des commandes du menu contextuel Trigger d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur l’un des boutons de déclenchement pour ouvrir le menu contextuel Trigger. Ce menu propose les commandes suivantes : Copy, Paste et Clear • Copy : copie l’ensemble des déclencheurs activés (pas) dans le Presse-papiers. • Paste : colle l’ensemble des déclencheurs à partir du Presse-papiers. • Clear : désactive l’ensemble des déclencheurs activés. Commandes de création de battement • Add EveryDownbeat: ajoute des déclencheurs pour chaque tempsfort dansla séquence. La définition exacte des pas à frapper dépend de la résolution de la grille. Par exemple, si la résolution est de 1/16, Add Every Downbeat crée un déclencheur à chaque quatrième pas. Si le premier temps frappé est joué sur le pas 1, des événements de déclencheur sont alors définis pour les pas 5, 9, 13 et ainsi de suite. Cette commande n’affecte pasles événements de déclenchement déjà existants; elle ne fait qu’en ajouter. • Add Every Upbeat : ajoute des déclencheurs pour chaque temps dans la séquence. La définition exacte des pas à lever dépend de la résolution de la grille. Par exemple, si la résolution est de 1/16, « Add Every Upbeat » crée un déclencheur à chaque quatrième pas. Si le premier temps levé est joué sur le pas 3, des événements de déclencheur sont alors définis pour les pas 7, 11, 15 et ainsi de suite. Cette commande n’affecte pas les événements de déclencheur déjà existants ; elle ne fait qu’en ajouter. Chapitre 15 Ultrabeat 525 Commandes Alter, Reverse et Shift • Alter Existing Randomly : réorganise les pas de façon aléatoire, en gardant les mêmes numéros de déclencheurs activés. • Reverse Existing : inverse l’ordre des pas actuels. • Shift Left by 1 Step : décale tous les pas de la séquence d’un pas vers la gauche. • Shift Left by 1 Beat : décale tous les pas de la séquence d’un battement vers la gauche. Le nombre exact de pas inclus dans un battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas ; avec une résolution de 1/8, un battement équivaut à deux pas et ainsi de suite. • Shift Left by 1/2 Beat : décale tous les pas de la séquence d’un demi-battement vers la gauche. Le nombre exact de pasinclus dans un demi battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas, et donc un demi battement, à deux pas ; avec une résolution de 1/8, un battement équivaut à deux pas, et donc un demi, à un pas, etc. • Shift Right by 1 Step : décale tous les pas de la séquence d’un pas vers la droite. • Shift Right by 1 Beat : décale tous les pas de la séquence d’un battement vers la droite. Le nombre exact de pas inclus dans un battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas ; avec une résolution de 1/8, un battement équivaut à deux pas et ainsi de suite. • Shift Right by 1/2 Beat : décale tous les pas de la séquence d’un demi-battement vers la gauche. Le nombre exact de pas inclus dans un demi battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas, et donc un demi battement, à deux pas ; avec une résolution de 1/8, un battement équivaut à deux pas, et donc un demi, à un pas, etc. Commandes Create et Replace • Create & Replace Randomly : efface, puis crée aléatoirement des pas dans la séquence ; autrement dit, une toute nouvelle séquence est créée. Le nombre d’événements créés est fonction de la résolution de la grille. • Create & Replace Few : fonction similaire à « Create & Replace Randomly ». Toutefois, seulement quelques passont créés. Le nombre de pas créés est fonction de la résolution de la grille. • Create & Replace Some : fonction similaire à la précédente. Toutefois, un plus grand nombre de pas est créé. Le nombre de pas créés est fonction de la résolution de la grille. • Create & Replace Many : fonction similaire à la précédente. Toutefois, un grand nombre de pas est créé, remplissant ainsi le motif. 526 Chapitre 15 Ultrabeat Par exemple, commencez avec une séquence vide de 32 pas avec une résolution d’1/16. La fonction « Create & Replace Few » crée 4 pas ; « Create & Replace Some » 8 pas ; « Create & Replace Many » 16 pas. Réglage des longueurs et des vélocités dans la rangée Velocity/Gate d’Ultrabeat Cette rangée vous permet de définir la longueur (temps de Gate) et la vélocité des notes entrées dans la rangée de déclencheurs. Ces deux paramètres sont représentés sous la forme d’une barre graphique unique. La hauteur et la largeur de la barre représentent respectivement la vélocité et la durée de la note (temps de Gate). Pour changer la durée et la vélocité de chaque pas µ Effectuez un glissement vertical sur la barre bleue pour modifier la vélocité. µ Effectuez un glissement horizontal sur la barre bleue pour modifier la durée de la note (temps de Gate). La durée de gate est divisée en quatre parties égales. Il est ainsi plus facile de définir la durée rythmique précise des notes. Pour que l’enveloppe à déclenchement unique fonctionne avec le temps de Gate, il faut activer la fonction Gate au niveau du son lui-même (consultez Modification du mode mode Trigger dans Ultrabeat) ou utiliser les enveloppes en mode Sustain (consultez Utilisation des paramètres d’enveloppe d’Ultrabeat), en association avec des temps de chute rythmiquement utiles (courts). Pour réinitialiser toutes les valeurs de vélocité et de Gate aux paramètres par défaut µ Cliquez sur le bouton Reset situé à gauche de la rangée velocity/gate. Réglage de vélocité par défaut = 75 pour cent. Temps de Gate par défaut = les quatre sections sont actives. Utilisation des commandes du menu contextuel Velocity/Gate d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur l’un des pas dans la rangée velocity/gate pour ouvrir un menu contextuel. Ce menu propose les commandes suivantes : • Alter Vel(ocities) : modifie aléatoirement les valeurs de vélocité de l’ensemble des pas, en gardant les mêmes battements sélectionnés (la rangée de déclencheurs reste inchangée). Chapitre 15 Ultrabeat 527 • Alter Gate (Time) : modifie aléatoirement les durées de notes de l’ensemble des pas, en gardant les mêmes battementssélectionnés(la rangée de déclencheursreste inchangée). • Randomize Vel(ocities) : crée une valeur de vélocité aléatoire. • Randomize Gate (Time) : crée une valeur de gate aléatoire. Utilisation des accentuations dans Ultrabeat Pour chaque son de batterie, vous pouvez activer ou désactiver le réglage de l’accentuation. Vous pouvez, par exemple, activer l’accentuation des cymbales, mais désactiver celle de la grosse caisse. Pour activer des accentuations et réglage du niveau d’accentuation 1 Cliquez sur la LED bleue à droite du curseur Accent pour activer la fonction d’accentuation. 2 Déplacez le curseur Accent pour déterminer le volume global des accentuations programmées. Pour programmer une accentuation pour un pas donné µ Cliquez sur la LED bleue située au-dessus du pas de votre choix (pas 1 et 3 dans l’image). Le son correspondant à cet emplacement de pas est alors accentué (joué plus fort). Affichage de Ultrabeat Step en plein écran Cliquez sur le bouton Full View dans la partie inférieure droite d’Ultrabeat pour afficher une grande grille de séquenceur contenant les boutons de déclenchement. La grande grille affiche simultanément les 32 boutons de déclenchement pour les 25 sons de batterie. 528 Chapitre 15 Ultrabeat L’affichage plein écran permet d’avoir un aperçu du motif entier, et non simplement d’une séquence. Les événements de déclenchement sont affichés pour tous les sons. Ainsi, vous pouvez aisément arrêter les notes erronées, ce qui simplifie et accélère tout le processus de création du motif. Le son sélectionné est mis en surbrillance en gris dans le séquenceur de pas. Il est donc facile de définir la vélocité et le temps de Gate pour chaque pas, ou les décalages en mode Step (consultez Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat), pour l’ensemble des séquences/sons du motif. La grille, ainsi que les rangées Trigger et Gate/Length, sont affichées pour le son de batterie sélectionné. Il est alors facile de créer des événements de déclenchement dans la grille en plein écran, puis de définir des accentuations dans les rangées Gate/Length, par exemple. Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat Le bouton Edit Mode lance la fonction d’automation pas à pas Ultrabeat. Celle-ci permet de programmer des modifications de paramètre par pas, pour chaque son de batterie. Vous pouvez régler tous les paramètres pouvant être automatisés pour chaque pas, si vous le souhaitez. Chapitre 15 Ultrabeat 529 Les paramètres de son qui peuvent être automatisés incluent l’ensemble des fonctions de la section Synthesizer, hormis les menus (processus de modulation, etc.), les boutons (boutons de type d’oscillateur, boutons de la section trigger/group) et les paramètres Pan/Spread. Bouton Edit Mode Menu Offset Rangée Parameter Offset Lorsque vous lancez le mode Step, l’affichage de l’interface Ultrabeat est le suivant : • Des cadres jaunes entourent tous les paramètres de la section synthétiseur disponibles pour l’automation. Les paramètres ne pouvant être automatisés sont toujours visibles, mais désactivés. • La rangée Velocity/Gate dans la grille des pas affiche désormais la rangée (parameter) offset Astuce : lors de la création de décalages en mode Step, il est possible que vous décidiez de faire une modification rapide sur le son de batterie initial. Plutôt que de devoir basculer d’un mode à l’autre pour une simple modification, vous pouvez appuyer sur Option et Commande pour accéder temporairement au mode Voice dans Ultrabeat. 530 Chapitre 15 Ultrabeat Tous les paramètres que vous choisissez d’automatiser s’affichent dans le menu local situé en haut de la rangée (parameter) offset Cliquez sur l’en-tête de grille (à gauche de l’axe zéro) pour ouvrir le menu. Remarque : soyez attentif, car le simple fait de déplacer un élément de commande dans la section Synthesizer ajoute le paramètre au menu offset. Utilisation de la rangée (Parameter) Offset d’Ultrabeat Cette rangée vous permet d’afficher et de saisir des valeurs de décalage par pas pour chaque paramètre pouvant être automatisé de la section Synthesizer. La modification des paramètres peut être effectuée de trois façons : • en réglant directement les commandes dans la section Synthesizer ; • en modifiant les valeurs de décalage dans la rangée offset ; • à l’aide du menu contextuel (consultez Utilisation des commandes du menu contextuel Parameter Offset d’Ultrabeat). Remarque : lesréglages effectués dansla rangée offset concernent la valeur de paramètre actuelle. Les valeurs affichées dans la rangée offset sont soit ajoutées à la valeur de paramètre définie dans la section Synthesizer, soit soustraites. En d’autres termes, les décalages de paramètres augmentent ou diminuent (mais ne spécifient pas) une valeur absolue pour le paramètre. Pour créer un décalage de paramètres 1 Choisissez un son. 2 Cliquez sur un emplacement, dans la rangée (parameter) offset, correspondant au pas à modifier. 3 Effectuez les changements de paramètres souhaités dans la section Synthesizer. Vos modifications sont enregistrées sous la forme d’une valeur de décalage pour ce pas. 4 Répétez l’étape 3 avec chaque paramètre à modifier pour ce pas. Chapitre 15 Ultrabeat 531 Une fois le décalage créé, il est représenté de deux manières. • Une ligne jaune est ajoutée sur le paramètre pour indiquer l’écart (le décalage) entre le paramètre d’origine et le nouveau paramètre. • Dans la rangée (parameter) offset, le décalage par rapport au paramètre d’origine est représenté sous forme de ligne commençant au point 0 (ligne centrale horizontale). • La ligne est située au-dessus de la ligne centrale pour les décalages positifs. • Inversement, la ligne est située en dessous de la ligne centrale pour les décalages négatifs. Utilisation des commandes du menu contextuel Parameter Offset d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris)sur l’un des pas dansla rangée (parameter) offset pour ouvrir un menu contextuel. Choisissez l’une des commandes suivantes : • Alter : modifie aléatoirement les valeurs de paramètres (sélectionnées), pour tous les pas. • Randomize : crée une valeur aléatoire pour le paramètre sélectionné. Remarque : pensez à enregistrer votre séquence/motif avant d’utiliser l’une ou l’autre de ces commandes. • Supprimerl : supprime tous les pas pour le paramètre actuellement sélectionné. 532 Chapitre 15 Ultrabeat Mise en silence, mise en solo et réinitialisation des décalages de paramètres d’Ultrabeat La rangée (parameter) offset comporte les boutons M(ute), S(olo) et Reset. • M(ute) : désactive le son pour les décalages du paramètre sélectionné. Cela n’entraîne pas la suppression ou la réinitialisation des décalages existants. • S(olo) : vous permet d’entendre, de façon isolée, l’effet de vos décalagessur le paramètre sélectionné. • Reset : toutes les valeurs de décalage correspondant au paramètre sélectionné sont mises à 0 (aucun décalage). • Si vous cliquez de nouveau sur ce bouton, le paramètre estsupprimé du menu offset. Remarque : le bouton Reset situé à gauche de la rangée velocity/gate se transforme en bouton Delete lorsque vous cliquez une fois dessus. Ce bouton Delete a le même comportement que la commande Delete : il supprime tous les pas du paramètre sélectionné. Exportation des motifs Ultrabeat en tant que régions MIDI Les motifs programmés dans le séquenceur pas à pas interne d’Ultrabeat peuvent être exportés en tant que régions MIDI dans la zone Arrange de MainStage. Pour exporter un motif Ultrabeat dans la zone Arrange de MainStage 1 Choisissez le motif souhaité dans le menu Pattern d’Ultrabeat. 2 Sélectionnez la zone située à gauche de ce même menu. 3 Faites glisser le motif jusqu’à l’emplacement voulu sur la piste Ultrabeat correspondante. Chapitre 15 Ultrabeat 533 Une région est créée, contenant tous les événements MIDI, y compris les réglages Swing et Accent. Les accentuations sont interprétées comme des événements de pression polyphonique. Les événements d’automation de pas, créés en mode Step,sont également exportés dans la région MIDI. Remarque : pour éviter un double déclenchement lors de la lecture de la région MIDI exportée, vous pouvez désactiver le séquenceur interne d’Ultrabeat. Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat Le jeu du pattern peut être influencé par les notes MIDI entrantes. Vous pouvez ainsi interagir librement avec le séquenceur pas à pas et Ultrabeat peut alors parfaitement être utilisé comme instrument pour des performances en direct. Le mode de réaction d’Ultrabeat par rapport au contrôle MIDI est déterminé par les options des modes Pattern, Playback et Voice Mute sélectionnées. Bouton Pattern Mode Menu du mode de lecture Bouton Voice Mute Mode • Bouton Pattern Mode (On/Off) : s’il est activé, ce bouton vous permet de choisir et de lancer des motifs avec des messages de notes MIDI. Le bouton Transport devient bleu pour indiquer qu’Ultrabeat est désormais prêt à recevoir les commandes de contrôle entrées. • Les notes MIDI de C-1 à B0 (Do-1 à Si0) commutent entre les motifs: C-1 sélectionne le motif 1, C#-1 sélectionne le motif 2 et ainsi de suite jusqu’au motif 24, sélectionné lorsque la note MIDI B0 est reçue. • Menu du mode Playback : détermine le comportement de lecture au niveau des motifs face aux notes MIDI entrantes. Vous avez le choix entre les options suivantes : • One-Shot Trig(ger) : la réception d’une note MIDI lance le pattern. Il est alors joué une fois dans sa totalité, puis s’arrête. Si la note suivante est reçue avant la fin du motif, elle stoppe la lecture du premier et le second commence à être joué immédiatement. Il peut s’agir d’un motif différent ou du même, selon la note MIDI reçue. Les événements de note désactivée sont ignorés. • Sustain : la réception d’une note MIDI lance le motif. Il est alors joué en boucle indéfiniment, jusqu’à ce que la note MIDI correspondante soit relâchée (réception d’un événement de note désactivée). • Toggle : la réception d’une note MIDI lance le pattern. Il est alors joué en boucle indéfiniment jusqu’à ce que la note suivante soit reçue. S’il s’agit de la même note, le pattern s’arrête immédiatement. S’il s’agit d’une autre note, le séquenceur passe immédiatement au nouveau pattern. 534 Chapitre 15 Ultrabeat Remarque : le mode Toggle vous permet de changer de motif au milieu d’une mesure : le séquenceur garde le rythme etsaute automatiquement au battement correspondant dans le nouveau motif. Ce n’est pas le cas en mode One-Shot Trig. Celui-ci lance en effet le nouveau motif depuis le début dès qu’une note MIDI est jouée. • Toggle on Step 1 : le comportement est le même qu’en mode Toggle, sauf que l’arrêt du motif ou son changement ne se produit que lorsque le prochain battement 1 est atteint, c’est-à-dire au début du prochain cycle du motif en cours. • Bouton du mode Voice Mute : si ce bouton est activé et que vous jouez la note MIDI C1 (Do1) et au-dessus, le son correspondant est désactivé dans le mélangeur Ultrabeat. Une autre note MIDI de même hauteur tonale permet de rétablir le son. Ce mode convient parfaitement au réarrangement libre de motifs et/ou à la désactivation du son de certains éléments d’un motif sans avoir à les supprimer. Cela s’avère particulièrement utile dans le cadre de performances en direct ou de remixage. Par ailleurs, la totalité des options créatives concernant les changements de motifs (présentées dans cette rubrique) sont réalisées avec des messages de notes MIDI et peuvent donc facilement être enregistrées, modifiées, arrangées et automatisées dans MainStage. Guide d’initiation à Ultrabeat : introduction Les guides d’initiation d’Ultrabeat présentent certaines astuces spécifiques à la création de sons. Ils vous aideront à découvrir les vastes et complexes possibilités qui s’offrent à vous grâce à Ultrabeat. Vous découvrirez qu’il n’existe pratiquement aucun son de batterie électronique ne pouvant être créé aisément à l’aide d’Ultrabeat. Remarque : dans le dossier Settings > 03 Tutorial Settings d’Ultrabeat, vous trouverez un Tutorial Kit, c’est-à-dire un ensemble de batterie contenant tous les sons de batterie évoqués dans les guides d’initiation. Il comprend également un son de batterie appelé Standard Tut(orial), qui correspond à un jeu par défaut de paramètres neutresfournissant un très bon point de départ pour la plupart des exemples. Toutes les rubriques des guides d’initiation d’Ultrabeat sont listées ci-dessous : • Guide d’initiation à Ultrabeat : création de grosses caisses • Guide d’initiation à Ultrabeat : création de caisses claires • Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale • Guide d’initiation à Ultrabeat : création de charlestons et de cymbales • Guide d’initiation à Ultrabeat : création de sons métalliques • Guide d’initiation à Ultrabeat : création de sons extrêmes • Guide d’initiation à Ultrabeat : programmation par blocs de construction Chapitre 15 Ultrabeat 535 Guide d’initiation à Ultrabeat : création de grosses caisses Lessons de grosse caisse créés électroniquementsont basés essentiellementsur un signal sinusoïdal de fréquence très grave. Pour programmer un son de grosse caisse dans Ultrabeat 1 Sélectionnez Settings > 03 Tutorial Settings > Tutorial Kit, puis Standard Tut dansla section d’assignation. Notez que l’oscillateur 1 est en mode Phase Oscillator. 2 Trouvez le pitch souhaité dans les octaves inférieures en écoutant en solo la grosse caisse avec d’autres éléments de tonalité importants du morceau (un son de basse ou de pad, par exemple). Faites glisser le curseur Pitch de l’oscillateur 1 pour régler la hauteur tonale. 3 Utilisez Env 4 pour mettre en forme le volume de la grosse caisse. Pour des battements plus lents, vous augmentez la phase de chute, alors que pour un tempo plus rapide, vous la raccourcissez. La phase d’attaque d’Env 4 doit être très courte dans tous les cas (0 dans la plupart des cas) ; sinon, le son perd de son caractère percussif et devient moins reconnaissable une fois mixé. Pour le moment, le son est encore très doux et rappelle un peu le célèbre son de grosse caisse de la boîte à rythmes Roland TR-808. Il lui manque encore une attaque clairement définie. Pour y remédier, contrôlez la tonalité (pitch) avec une enveloppe 1 Vérifiez qu’Env 1 est bien sélectionnée dans le menu Mod du paramètre Pitch de l’oscillateur 1. 2 Définissez le degré de modulation en faisant glisser le curseur Mod bleu d’environ 3 ou 4 octaves au-dessus de la hauteur tonale initiale. 536 Chapitre 15 Ultrabeat 3 Définissez la phase d’attaque dans Env 1 sur 0 en faisant glisser complètement à gauche le point de jonction figurant le plus à gauche sur l’axe des abscisses. 4 Modifiez la phase de chute en faisant glisser le point de jonction figurant le plus à droite sur l’axe des abscisses. Vous constaterez que plus les valeurs de chute sont élevées (en déplaçant la poignée de Bézier à droite), plus le son s’approche des toms synthétisés, tandis que des valeurs de chute plus faibles (déplacement vers la gauche) permettent d’obtenir l’aspect incisif recherché. 5 Modifiez de nouveau la modulation (le curseur bleu) du paramètre Pitch de l’oscillateur 1 (voir étape 2). L’interaction entre ce paramètre et la phase de chute de l’enveloppe permet diverses mises en forme du caractère percussif ou incisif du son de grosse caisse. Remarque : ce son de grosse caisse claire simple est appelé Kick 1 dans le kit d’initiation, avec la hauteur tonale C1 (Do1). Guide d’initiation à Ultrabeat : réduction de la tonalité Les sons de grosse caisse basés sur un signal sinusoïdal ont l’avantage de pouvoir être réglés précisément pour correspondre au morceau. Cependant, la présence d’une hauteur tonale reconnaissable n’est pastoujourssouhaitée. Ultrabeat propose diverses méthodes pour diminuer la tonalité d’un son. Il existe notamment un outil très performant: l’égaliseur deux bandes. Pour diminuer la tonalité à l’aide de l’égaliseur deux bandes 1 Pour la bande 1, sélectionnez le mode Shelving avec une fréquence de 80 Hz environ, une valeur Q élevée et une valeur Gain négative. 2 Pour la bande 2, sélectionnez le mode Peak avec une fréquence de 180 Hz environ, une valeur Q moyenne et une valeur Gain également négative. Chapitre 15 Ultrabeat 537 Sur le graphique de l’égaliseur, vous observez l’accentuation des fréquences proches de 80 Hz et l’atténuation des autres. 3 Modifiez la fréquence de la bande 2 (facilement reconnaissable dans la partie bleue sur le graphique de l’égaliseur) afin de régler la tonalité du son de grosse caisse. Une autre méthode pour diminuer la tonalité d’un son de batterie riche en harmoniques consiste à utiliser un filtre passe-bas. Dans l’exemple suivant, vous allez contrôler la fréquence de coupure du filtre via une enveloppe. Pour diminuer la tonalité à l’aide d’un filtre passe-bas 1 Chargez de nouveau le son de base Standard Tutorial, sélectionnez A#0 (La#0) comme hauteur tonale de base dans l’oscillateur 1 et modulez-la avec Env 1. 2 Augmentez la valeur du paramètre Saturation pour souligner les harmoniques du son de batterie. Notez que, lorsque le bouton de contournement du filtre est activé (flèche entre Osc 1 et le filtre), la sortie de l’oscillateur 1 est envoyée vers le filtre. 3 Définissez le type de filtre sur LP 24. 4 Définissez la valeur Cutoff sur 0,10. 5 Définissez Mod Source pour Cut sur Env 3. 6 Définissez Mod Amount pour Cut sur 0,60. 7 Définissez Resonance sur 0,30. 538 Chapitre 15 Ultrabeat 8 Définissez la durée d’attaque d’Env 3 sur 0. Utilisez le Decay time de l’Env 3 pour mettre en forme le son filtré de la grosse caisse. 9 Vous pouvez également choisir de contrôler avec une enveloppe la résonance du filtre. Veillez à n’utiliser qu’une seule enveloppe pour ce faire (dans ce cas, utilisez l’Env 2 comme source Mod pour Res.) Fixez l’ampleur de la modulation de la résonance (Mod de Res) autour de 0,80. Sélectionnez une valeur Decay time plus longue dans l’Env 2 que dans l’Env 3 et écoutez attentivement le son de grosse caisse obtenu qui devient plus lourd et atonal (à cause d’une plus grande résonance du filtre). Remarque : le son de caisse claire décrit dans l’exemple ci-dessus est appelé Kick 2 dans le kit d’initiation, avec la hauteur tonale C#1 (Do#1). Il comporte également un réglage EQ intéressant, comme décrit dans la rubrique suivante. Guide d’initiation à Ultrabeat : ajout de graves, d’attaque et de corps aux sons Essayez d’utiliser les options présentées dans cette rubrique afin d’ajouter des éléments « manquants » à vos sons. Ajout de grosse caisse claire à votre son Utilisez le son de grosse caisse filtré Kick 2 comme point de départ et essayez les autres paramètres disponibles dans Phase Oscillator. Vous pourrez alors observer, par exemple, que des valeurs de saturation élevées génèrent un son plusrond et plus grave. Le caractère du son utilisé pour cet exemple commence à se rapprocher de celui d’un son de TR-909. Amélioration des éléments transitoires d’attaque de votre son Pour que le son s’approche encore de celui d’une TR-909, utilisez le réglage d’égaliseur indiqué dans la figure suivante. Le point de pression dans les basses fréquences (situé à 60 Hz environ, dans la zone rouge sur le graphique de l’égaliseur), ainsi que l’impulsion ou l’impact puissant (dans la zone bleue, au-dessus de 460 Hz) d’un son de grosse caisse 909 sont renforcés. (Ce réglage de l’égaliseur est déjà effectué dans le Kick 2.) Chapitre 15 Ultrabeat 539 Utilisation d’enveloppes pour modifier la couleur de votre son Cet exemple utilise les quatre enveloppes. Prenez le temps d’essayer diverses formes d’enveloppe, sans modifier les réglages Attack et Decay. Déplacez les points de jonction de la phase de chute sur les différentes enveloppes pour vousfamiliariser avec les options permettant de mettre en forme le son. Commencez par la phase de chute de l’Env 4, qui contrôle à la fois le volume de l’oscillateur 1 et la résonance du filtre. Vous pouvez ainsi observer l’effet des modifications de la forme « ventrue » de l’enveloppe sur le caractère du son : net et court au départ, il devient rond et volumineux. Guide d’initiation à Ultrabeat : création de la grosse caisse Ultrabeat Vous pouvez créer dessons de grosse caisse claire uniques à Ultrabeat. Essayez de moduler la hauteur tonale avec un LFO, par exemple, plutôt qu’avec une enveloppe. Pour créer un son de grosse caisse modulé par LFO 1 Utilisez le son de base Standard Tutorial correspondant à la note A#0 (Pitch de l’oscillateur 1), puis sélectionnez LFO 1 comme source Mod dans la section Pitch d’Osc 1. 2 Réglez le degré de la modulation en faisant glisser le curseur Mod bleu vers la valeur A3 (La3). 3 Indiquez pour LFO 1 : un nombre de Cyclesréduit (entre 25 et 35), un Rate élevé (supérieur ou égal à 70 Hz) et une valeur moyenne de Decay (en réglant le potentiomètre Ramp sur -190 environ). 4 En modifiant la forme d’onde LFO, vous pouvez constater qu’il est possible de nuancer le caractère de l’attaque de la grosse caisse. 5 Modulez le paramètre Asym(metry) avec le même LFO et faites varier également les valeurs de Slope et de Saturation. Vous pouvez ainsi créer des sons de grosse caisse très différents avec un seul oscillateur, un LFO et une enveloppe (pour le volume). Le son peut prendre toutes les nuances de caractère, allant de doux à incisif, et vous pouvez choisir la hauteur tonale selon vos goûts. Remarque : le son de grosse caisse claire décrit est appelé Kick 3 dans le kit d’initiation, avec la hauteur tonale D1 (Ré1). Utilisez le second oscillateur (avec un réglage identique ou en mode Sample) ou le filtre associé au modulateur en anneau. Tout est possible, alors laissez libre cours à votre imagination et créez le prochain son de batterie à la mode. Remarque : voustrouverez une émulation de la légendaire grosse caisse 808 sousle nom Kick 4 dans le kit d’initiation, avec la hauteur tonale D#1 (Ré#1). Guide d’initiation à Ultrabeat : création de caisses claires Le son d’une caisse claire acoustique est constitué de deux composantes principales : le son de la partie tambour et le bourdonnement du timbre. Essayez de reproduire ce son dans Ultrabeat avec un seul oscillateur et le générateur de bruit. 540 Chapitre 15 Ultrabeat Pour créer un son de caisse claire basique 1 Chargez le son de base Standard Tutorial. Désactivez l’oscillateur 1 et activez l’oscillateur 2 (en mode Phase Oscillator). 2 Choisissez LFO 1 dans le menu Mod de la hauteur tonale de l’oscillateur 2. 3 Définissez la valeur tonale de cet oscillateur autour de G#2 (Sol#2) et la modulation (réglée avec le contrôle Mod bleu) sur 3 ou 4 octaves au-dessus. Vous avez modulé la hauteur tonale de l’oscillateur 2 au moyen d’un LFO à vibrations rapides, avec une valeur Ramp Decay moyenne. L’onde sinusoïdale (qui n’est pas particulièrement souhaitée pour un son de caisse claire, comparé à un son de grosse caisse) est ainsi supprimée. 4 Indiquez un Rate élevé pour LFO 1. Définissez le nombre de Cycles sur 20 et affectez la valeur -20 au paramètre Ramp. Définissez le paramètre Waveform du LFO sur une valeur avoisinant 0,58, ce qui correspond à une onde carrée. 5 À l’aide d’Env 1, contrôlez le volume de l’oscillateur 2 en affectant la plus petite valeur possible (-60 dB) à Vol, en sélectionnant Env 1 dans le menu local Mod et en réglant l’intensité de la modulation sur un point juste en dessous de sa valeur maximale. La figure ci-dessous montre les réglages relatifs à l’oscillateur 2 et à Env 1. 6 Modifiez les valeurs Slope et Asym pour donner un caractère plus ou moins électronique au son. 7 Activez le générateur de bruit et réglez son volume avec les mêmes réglages rapides d’enveloppe que ceux utilisés pour le volume de l’oscillateur 2. 8 Utilisez les paramètres de filtrage du générateur de bruit pour salir, épurer ou éclaircir le bruit composant le son de caisse claire. Sélectionnez un filtre de type LP et essayez une fréquence de filtre comprise entre 0,60 et 0,90. Effectuez ensuite la modulation avec LFO 1 (déjà utilisé pour contrôler la hauteur tonale de l’oscillateur 2). Remarque : le son de caisse claire est appelé Snare 1 dansle kit d’initiation, avec la hauteur tonale E1 (Mi1). Chapitre 15 Ultrabeat 541 Pour épurer le son de caisse claire en utilisant la synthèse FM 1 Activez le mode FM de l’oscillateur 1. Utilisez Env 1 pour contrôler le volume de l’oscillateur 1 également. 2 Pour l’oscillateur 1, choisissez une hauteur tonale située environ une octave en dessous de l’oscillateur 2. Évitez soigneusement les intervalles pairs entre les oscillateurs et désaccordez-les légèrement l’un par rapport à l’autre. Par exemple, essayez la hauteur tonale F#2 (Fa#2) pour Osc 2 et E1 (Mi1) pour Osc 1, puisréglez Osc 1 quelques centièmes plus haut, tout en maintenant la touche Maj enfoncée pendant que vous déplacez son curseur Pitch. 3 Jouez sur le niveau FM et ajoutez, selon vos goûts, un aspect plus « tonal » (niveau FM faible) ou « bruité » (niveau FM plus élevé). Essayez également de moduler le niveau FM avec un réglage rapide pour le LFO. Remarque : vous trouverez un exemple de son de caisse claire utilisant la FM dans le kit d’initiation, avec la hauteur tonale F1 (Fa1). Il s’intitule Snare 2. Un niveau FM plus élevé augmente considérablement le nombre d’harmoniques et accentue le caractère électronique du son. Si vous souhaitez obtenir un son plus acoustique, envoyez les sorties de l’oscillateur 1 (et, éventuellement, de l’oscillateur 2) vers le filtre principal. Pour commencer, utilisez ces réglages : mode LP 24 et Cutoff d’environ 0,60. Guide d’initiation à Ultrabeat : restitution de la caisse claire TR-808 Le célèbre son de la caisse claire 808 utilise deux filtres de résonance et un générateur de bruit, le signal transitant ensuite par un filtre passe-haut. Il est possible d’ajuster la combinaison des deux filtres et du volume du générateur de bruit. Ultrabeat ne permet pas de répliquer cette structure totalement. Pour cloner le son de la caisse claire 808 1 Chargez le son de base Standard Tutorial. Vous êtes maintenant prêt à reproduire les filtres de résonance de la 808 avec deux modulations de phase bien programmées. 2 Affectez-leur des valeurs de Slope légèrement différentes et désaccordez-les d’une octave quasiment. 3 Réglez les tonalités entre les oscillateurs de sorte à ce qu’elles diffèrent (E3, soit Mi3, et F2, soit Fa2, par exemple). 4 Contrôlez le volume de chaque oscillateur avec une enveloppe distincte. Réglez lestemps de chute de sorte que l’enveloppe de l’oscillateur accordé sur un son plus grave ait un temps de chute pluslong que le réglage d’enveloppe très punchy de l’oscillateur accordé sur un son plus aigu. 542 Chapitre 15 Ultrabeat 5 Envoyez la sortie de chacun des oscillateurs vers le filtre principal d’Ultrabeat et creusez le son avec un filtre passe-haut. Pour ce faire, activez le bouton de contournement du filtre pour les deux oscillateurs. Réglez le filtre sur HP 12, puis définissez la valeur de Cutoff sur approximativement 0,40 et la valeur de Resonance sur 0,70 environ. Vous venez d’émuler d’une façon très ingénieuse les deux filtres de résonance de la 808. En outre, en modifiant la hauteur tonale des oscillateurs, vous simulez le comportement du contrôle de Tone de la 808. Pour ajouter du bruit afin de compléter l’émulation 1 Activez le générateur de bruit et le mode passe-haut de son filtre (HP). 2 Définissez la valeur de Cutoff sur 0,65 environ et la valeur de Resonance sur 0,35, et augmentez la valeur du paramètre Dirt (autour de 0,06). Le générateur de bruit produit un son de caisse claire soutenu. Pour obtenir un son ressemblant à celui de la 808, le signal doit être mis en forme par sa propre enveloppe, indépendamment des phases de chute des deux oscillateurs. En modifiant le volume du générateur de bruit, vous pouvez reproduire le claquement de la 808. Remarque : la caisse claire 808 décrite est appelée Snare 3-808 dans le kit d’initiation, avec la hauteur tonale F#1 (Fa#1). Elle comporte également un réglage EQ intéressant. Guide d’initiation à Ultrabeat : modification des dynamiques avec la vélocité Utilisez les sons de caisse claire 808 du kit d’initiation pour étudier les possibilités offertes par Ultrabeat en matière de vélocité. Pour utiliser la modulation de vélocité 1 Sélectionnez le son Snare 3-808. 2 Ouvrez le menu local Via en dessous du potentiomètre Volume de l’oscillateur 1 et choisissez Vel. Un curseur apparaît sur la bague entourant le potentiomètre. Chapitre 15 Ultrabeat 543 3 Faites glisser le curseur dans le sens des aiguilles d’une montre. Lorsque vous le faites glisser, une info-bulle indique sa valeur. Déplacez le curseur sur 0 dB. 4 Répétez les étapes 2 à 3 pour l’oscillateur 2 et le générateur de bruit. Vous pouvez désormais jouer les sons dynamiquement en utilisant la vélocité. Pour augmenter la dynamique du jeu 1 Baissez les volumes individuels de chacun des oscillateurs et du générateur de bruit en utilisant les potentiomètres appropriés. Observez comment la bague Mod et les curseurs Via reviennent, eux aussi, en arrière. Modifiez les positions des curseurs Via, jusqu’à ce que les trois potentiomètres Volume aient le même aspect que sur la capture d’écran suivante : En utilisant des intensités différentes pour chaque potentiomètre Volume à cette étape, vous pouvez définir des réactions distinctes face à la vélocité pour chacune des composantes du son. 544 Chapitre 15 Ultrabeat 2 Augmentez la dynamique globale du son en réglant le potentiomètre Voice Volume comme suit : Vous disposez à présent d’un son de caisse claire type 808 particulièrement réactif à la vélocité. Comme vous le savez peut-être, une telle réactivité était impossible avec la 808 originale ; et même avec un échantillon de la 808, il est impossible de contrôler le volume des différentes composantes sonores de façon dynamique comme nous venons de le faire avec Ultrabeat. En effet, un échantillon permet simplement d’obtenir une copie du son dans sa globalité, mais pas de chacun de ses éléments constitutifs. Dans l’étape suivante, vous allez utiliser la vélocité pour contrôler le caractère du son (individuellement, pour chaque composante), ainsi que le volume, bien évidemment 3 Dans le menu local Saturation Mod de l’oscillateur 2, choisissez Max, puis Vel(ocity) dans le menu local Via correspondant. Chapitre 15 Ultrabeat 545 4 Définissez le contrôle supplémentaire comme illustré ci-dessous, afin de contrôler le caractère du son en fonction de la vélocité : 5 Répétez cette procédure pour les autres paramètres de l’oscillateur 2, ainsi que le pitch : 6 Modulez le générateur de bruit comme suit : • Paramètre Cut : indiquez Max pour la source de modulation, puis réglez le contrôle de modulation comme indiqué ci-après. • Paramètre Dirt : sélectionnez LFO 2 comme source de modulation, puis définissez le contrôle de modulation comme indiqué ci-après. Comme vous le souhaitiez, le son n’a désormais plus rien à voir avec celui de la caisse claire 808. Continuez à changer les valeurs de vélocité et déterminez les cas où il est opportun de s’en servir comme source de modulation directe ou indirecte, danssa forme positive ou négative. 546 Chapitre 15 Ultrabeat Remarque : le son de caisse claire de type 808 dynamique est appelé Snare 4-Vel dans le kit d’initiation, avec la hauteur tonale G1 (Sol1). Guide d’initiation à Ultrabeat : restitution de la caisse claire Kraftwerk Un autre son de caisse claire électronique classique est celui obtenu par un filtre passe-bas de synthétiseur analogique, très résonnant, qui se termine par un claquement caractéristique. Ce son est très utilisé chez Kraftwerk. Pour reproduire le son d’une caisse claire Kraftwerk avec Ultrabeat 1 Sélectionnez le son Snare 1. 2 Envoyez les signaux des deux oscillateurs et du générateur de bruit vers le filtre principal. 3 Modulez le Cutoff avec Env 1 (qui module déjà le volume du générateur de bruit). 4 Modulez la résonance du filtre avec Env 2. 5 Modifiez les paramètres mentionnés aux étapes 2 à 4 (notamment ceux des enveloppes) et utilisez l’égaliseur. Vous constaterez ainsi l’étendue des possibilités offertes par ces réglages élémentaires. Remarque : le son appelé Snare 5-KW dans le kit d’initiation, avec la hauteur tonale G#1 (Sol#1), est un exemple. Analysez ce son et comparez-le à votre création. Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale Les sons de percussion tonals tels que les toms ou congas sont relativement faciles à émuler électroniquement à l’aide d’oscillateurs à ondes sinusoïdales ou triangulaires. Phase Oscillator d’Ultrabeat offre un large éventail de sons élémentaires pouvant servir de points de départ. Contrôlez le pitch des oscillateurs avec des enveloppes et utilisez les techniques de programmation expliquées dans les sections relatives à la grosse caisse et à la caisse claire pour modifier la tonalité. Vous devriez être en mesure de créer facilement une palette étendue de sons de toms ou assimilés. Remarque : les notes allant de A1 (La1) à B0 (Si0) dans le kit d’initiation correspondent aux sons de toms 808 typiques. Analysez ces sons et modifiez-les à votre convenance. Procédez à des essais avec le mode Model de l’oscillateur 2. Familiarisez-vous avec les effets de chacun des paramètres et créez vos propres sons de percussion (allant de sons de tablas à des sons de type verre à pied). Remarque : les sons de type tabla et verre correspondant aux notes C2 et C#2 (Do2 et Do#2) du kit d’initiation combinent le mode Model de l’oscillateur 2 et la FM. Ce sont également de bons exemples de l’usage complexe de la vélocité comme source de modulation. Chapitre 15 Ultrabeat 547 Guide d’initiation à Ultrabeat : création de charlestons et de cymbales La création des sons de charleston électroniques est facile avec Ultrabeat. Pour créer un son de charleston dans Ultrabeat 1 Chargez le son de base Standard Tutorial. 2 Désactivez l’oscillateur 1 et activez le générateur de bruit. 3 Dans le générateur de bruit, assurez-vous que le paramètre Cutoff est modulé par Env 1. La modulation est négative et le curseur Mod figure en dessous de la valeur de base du paramètre. 4 Préférez des valeurs decay faibles pour Env 1 et Env 4. 5 Définissez la durée d’attaque d’Env 4 sur 0. La durée d’attaque d’Env 1 doit être plutôt courte, mais pas égale à 0. Remarque : vous trouverez un son créé avec la même méthode dans le kit d’initiation. Il se nomme HiHat 1, avec la hauteur tonale F2 (Fa2). Vous pouvez également analyser le son Hihat 2, avec la hauteur tonale F#2 (Fa#2). Les sons de charleston et de cymbales sont très proches. La principale différence réside dans la longueur de leur temps de chute. Pour produire des sons de cymbales différents, il est essentiel d’affecter correctement les enveloppes. Sélectionnez les sons Cym 1 et Cym 2 dans le kit d’initiation et essayez différentes assignations d’enveloppe, ainsi que divers réglages relatifs aux paramètres Cutoff et Volume du générateur de bruit, du filtre principal, etc. Guide d’initiation à Ultrabeat : création de sons métalliques Si vous souhaitez créer des sons métalliques dans Ultrabeat, le modulateur en anneau et le mode Model de l’oscillateur conviennent parfaitement. 548 Chapitre 15 Ultrabeat Pour utiliser le modulateur en anneau 1 Chargez le son de base Standard Tutorial. 2 Activez un oscillateur en mode Phase Oscillator et un autre en mode Model. Définissez le pitch de chaque oscillateur au-dessus de C3 (Do3), de sorte qu’un léger intervalle de désaccord soit créé. 3 Dans le graphique Material Pad de l’oscillateur Model, choisissez un réglage incluant de nombreux sons dominants, comme illustré ci-après. 4 Affectez une valeur de -60 dB à chaque oscillateur et cliquez sur Ring mod pour activer le modulateur en anneau. Vous venez de créer un son semblable à celui d’une cloche. Vous pouvez le filtrer avec une valeur de résonance élevée, si nécessaire. Remarque : le même type de son, appelé Ring Bell, figure dans le kit d’initiation, avec la hauteur tonale A2 (La2). Guide d’initiation à Ultrabeat : création de sons extrêmes Ultrabeat présente des générateurs d’enveloppe extrêmement rapides et des LFO d’une puissance peu commune. Utilisez cessources de modulation pour réaliser des modulations extrêmes au niveau des paramètres d’oscillation et de filtrage. Pour créer des sons peu communs µ Essayez de moduler autant de cibles que possible. µ N’ayez pas peur d’utiliser des réglages extrêmes. µ Utilisez une enveloppe rapide pour que le filtre oscille par lui-même pendant une fraction de secondes. µ Utilisez quelques cycles LFO à une vitesse beaucoup plus élevée que les autres. µ Essayez le paramètre Dirt ou l’effet de grésillement. Chapitre 15 Ultrabeat 549 Guide d’initiation à Ultrabeat : programmation par blocs de construction Plus vous vous familiariserez avec la programmation de sons rythmiques, plus vous aurez tendance à penser directement en termes de blocs de construction. Autrement dit, vous intégrerez dèsle départ le fait que lessons de batterie sont généralement la combinaison de plusieurs éléments. Une foisla liste de ces éléments dressée, essayez d’émuler chaque composante contribuant au caractère du son, en vous servant des différents générateurs de sons disponibles dans Ultrabeat. En assignant des enveloppes d’amplitude dédiées à certaines composantes, vous pouvez contrôler séparément leur comportement dans le temps. Par exemple, vous pouvez émuler le fût d’une batterie avec l’oscillateur 1 ou le son de la baguette frappant la peau (transitoire) avec le générateur de bruit. Les sons dominants et harmoniques supplémentaires peuvent être fournis pas l’oscillateur 2 ou le modulateur en anneau. Lorsque vous êtes capable de penser la création de sons de batterie en termes de couches ou de blocs constitutifs, le rôle des commandes de volume au niveau des différents générateurs de son devient plus clair. Ce sont, en effet, les outils nécessaires à la combinaison, à l’équilibrage et au contrôle des différents blocs. 550 Chapitre 15 Ultrabeat Lesinstruments GarageBand sont automatiquement installés avec MainStage. L'utilisation des instruments de GarageBand est identique à celle des instruments de toute autre application. Le présent chapitre couvre les aspects suivants : • Fonctionnalités des instruments de GarageBand (p 552) • Base analogique GarageBand (p 553) • Mono analogique GarageBand (p 554) • Nappe analogique GarageBand (p 555) • Tourbillon analogique GarageBand (p 556) • Synchro analogique GarageBand (p 558) • Basse GarageBand (p 559) • Grandes orgues GarageBand (p 560) • Numérique de base GarageBand (p 561) • Digital Mono GarageBand (p 562) • Digital Stepper GarageBand (p 564) • Drum Kits GarageBand (p 565) • Electric Clav(inet) GarageBand (p 566) • Electric Piano GarageBand (p 566) • Guitar GarageBand (p 567) • Horns GarageBand (p 568) • Hybrid Basic GarageBand (p 569) • Hybrid Morph GarageBand (p 571) • Piano GarageBand (p 573) • Sound Effects GarageBand (p 574) • Strings GarageBand (p 575) 551 Instruments GarageBand 16 • Tonewheel Organ GarageBand (p 576) • Tuned Percussion GarageBand (p 577) • Voice GarageBand (p 578) • Woodwind GarageBand (p 579) Fonctionnalités des instruments de GarageBand Les instruments GarageBand sont en fait des versions consommant moins de ressources processeur (CPU) et de mémoire que les modules d’instruments MainStage équivalents. Les synthétiseurs GarageBand utilisent une version réduite de l’ES2. De même, les sons d’orgue sont générés par un EVB3 comportant moins de fonctions et les sons de piano électrique sont émulés par un instrument basé sur l’EVP88. D’autres sons, tels que les cordes, les cuivres, les batteries, etc. utilisent un lecteur d’échantillons simplifié basé sur le EXS24 mkII. L’interface de tous les instruments GarageBand est limitée à quelques paramètres clés, dont l’emploi est ainsi simplifié. Les paramètres disponibles ont été soigneusement sélectionnés en vue d’un impact et d’une flexibilité maximale, pour une création facile et rapide de sons fantastiques. Cesinstruments vous permettent d’importer facilement desfichiers de projets GarageBand dansMainStage Une fois votre projet GarageBand importé, vous pouvez accéder aux options avancées, telles que le séquencement, le mixage et le traitement d’effets dans MainStage. Si vous le souhaitez, vous pouvez également remplacer les instruments de votre projet GarageBand par n’importe quel instrument de MainStage. 552 Chapitre 16 Instruments GarageBand Base analogique GarageBand Le son Analogique de base est basé sur l’ES2. Il correspond au son d’un synthétiseur analogique simple, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurMix : détermine le niveau de mixage dessignaux des oscillateurs(leur balance). • Curseur Tuning : définit la tonalité générale de l’instrument. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. Chapitre 16 Instruments GarageBand 553 • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. Mono analogique GarageBand Ils’agit d’un son principal (lead) de synthétiseur analogique monophonique (qui reproduit une seule note à la fois), basé sur l’ES2. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurGlide : détermine le temps nécessaire pour qu’une hauteur tonale soit remplacée par une autre (par un effet de glissement). • CurseurMix : détermine le niveau de mixage dessignaux des oscillateurs(leur balance). • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. 554 Chapitre 16 Instruments GarageBand • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Richness : détermine la complexité de la texture du son, de façon à enrichir ce dernier. Nappe analogique GarageBand La fonction Nappe analogique est basée sur l’ES2. Il correspond à une nappe de synthétiseur analogique aux sonorités chaudes, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Modulation : accélère ou ralentit le mouvement de balayage de nappe. • Curseur Character : détermine si le son est doux ou aigu. Chapitre 16 Instruments GarageBand 555 • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Envelope : détermine la force du mouvement de balayage. • Curseur Duration : détermine la durée du mouvement de balayage. • Curseur Animation : détermine l’effet de l’enveloppe sur le son de la nappe. Tourbillon analogique GarageBand L’instrument Tourbillon analogique est basé sur l’ES2. Il correspond à une nappe de synthétiseur analogique aux sonorités chaudes produisant un effet de chorus tourbillonnant. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Modulation : accélère ou ralentit le mouvement de balayage de nappe. 556 Chapitre 16 Instruments GarageBand • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 557 Synchro analogique GarageBand L’instrument Synchro analogique est basé sur l’ES2. Il émule les tons de synthétiseurs analogiques qui synchronisent deux oscillateurs pour produire leur son. L’instrument Synchro analogique est tout particulièrement utile pour générer lessons principaux (lead) très marqués des synthétiseurs analogiques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Synchro : détermine la synchronisation (ou la perte de synchronisation) entre les deux oscillateurs et par conséquent, la rugosité du son. • Curseur Sync Modulation : détermine l’intensité de modulation de la synchronisation des deux oscillateurs, ce qui engendre des tonalités plus complexes (et plus dures). • Curseur Sync Envelope : détermine dans quelle mesure les paramètres de l’enveloppe influent sur le son. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. 558 Chapitre 16 Instruments GarageBand • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. Basse GarageBand L’instrument Basse est basé sur des échantillons. Il émule des basses électriques et acoustiques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 559 Grandes orgues GarageBand L’instrument Grandes orgues est basé sur des échantillons. Il émule un orgue composé de tuyaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Registration : propose des registrations préréglées. Les registrations sont des combinaisons de différents réglages de jeux d’orgues (leviers) qui modifient la tonalité du son en activant ou désactivant certains tuyaux. Cela influe sur les harmoniques entendues lorsque vous appuyez sur une touche. • Boutons Bass : ces boutons vous permettent d’activer les tuyaux inférieurs (les basses), afin d’ajouter des harmoniques inférieures pour augmenter la richesse et la plénitude du son. Remarque : les boutons de basse ne sont pas disponibles dans toutes les registrations. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 560 Chapitre 16 Instruments GarageBand Numérique de base GarageBand L’instrument Numérique de base est basé sur l’ES2. Il correspond à un simple son de synthétiseur numérique, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Mix : mixe deux tons. • Curseur Tuning : définit la tonalité générale de l’instrument. • CurseurHarmonics: augmente ou diminue le nombre d’harmoniques(sons dominants) présents dans le son. N’hésitez pas à expérimenter avec ce curseur car il peut modifier le son de façon spectaculaire ou subtile. • Curseur Timbre : change la couleur du son (de sombre à brillant). • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. Chapitre 16 Instruments GarageBand 561 • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Digital Mono GarageBand L’instrument Mono numérique est basé sur l’ES2. Il correspond au son principal (lead) d’un synthétiseur numérique monophonique. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Tuning : définit la tonalité générale de l’instrument. • CurseurHarmonics: épaissit (valeursupérieure) ou affine (valeur inférieure) légèrement le son. • Curseur Timbre : change la couleur du son (de sombre à brillant). • Curseur Timbre Envelope : modifie dynamiquement la couleur du son, en fonction de la force avec laquelle les touches du clavier sont frappées. • Les valeurs faibles ont peu d’effet sur la couleur du son, quelle que soit la force que vous appliquez aux touches du clavier. 562 Chapitre 16 Instruments GarageBand • Si vous sélectionnez des valeurs élevées, le son change sensiblement selon que le jeu est plus ou moins affirmé. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Richness : désaccorde légèrement les notes jouées les unes par rapport aux autres, de façon à épaissir un peu le son, en particulier lorsque des valeurs de paramètres élevées sont utilisées. • Curseur Distortion : déforme le son général, de façon à le rendre très désagréable et agressif. Important : utilisez le paramètre Distortion avec précaution car il peut augmenter considérablement le volume global de l’instrument, ce qui risque d’endommager vos haut-parleurs ou de nuire à votre audition. Chapitre 16 Instruments GarageBand 563 Digital Stepper GarageBand L’instrument Digital Stepper est basé sur l’ES2. Il s’agit d’un synthétiseur numérique pouvant passer par différents niveaux de tons afin de créer un motif rythmique. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Balance : définit l’équilibre entre un son plus dur et plus aigu (numérique) et un son plus chaud et plus doux (analogique). • Curseur Modulation : applique une modulation plus ou moins importante, afin de produire un son plus vif lorsque des réglages élevés sont utilisés. • CurseurHarmonics: épaissit (valeursupérieure) ou affine (valeur inférieure) légèrement le son. • Curseur Harmonics : rend les étapes tonales plus ou moins perceptibles, selon qu’elles sont larges ou petites. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Cutoff Steps: définit l’importance de la coupure appliquée à chaque étape. Une valeur élevée (étape large) accentue l’effet de coupure. 564 Chapitre 16 Instruments GarageBand • Curseur Duration : définit la longueur des étapes. Drum Kits GarageBand Les batteries sont basées sur des échantillons. Plusieurs émulations sont proposées, notamment les batteries rock, pop, jazz, électronique, orchestral et Latin. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 565 Electric Clav(inet) GarageBand Le son Clavicorde électrique est basé sur l’EVD6. Il émule le Clavinet Hohner D6. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurDamper: modifie la tonalité du Clavinet, la rendant moinssoutenue et renforçant l’effet de « sonorité boisée », à mesure que vous progressez vers le réglage élevé. Electric Piano GarageBand Le son Piano électrique est basé sur l’EVP88. Il s’apparente au son des pianos électriques Fender Rhodes et Wurlitzer. • Curseur Volume : définit le niveau de volume global de l’instrument. • BoutonsModel : si voussélectionnez le bouton Tines, vous obtenez un son s’apparentant davantage à celui d’une cloche. • Curseur Decay : une valeur courte produit un son « pincé », alors qu’un réglage long maintient le son tant que les touches sont enfoncées. 566 Chapitre 16 Instruments GarageBand Guitar GarageBand Le son de guitare est basé sur des échantillons. Il émule différents sons de guitares acoustiques et électriques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 567 Horns GarageBand L’instrument Horns est basé sur des échantillons. Il émule plusieurs sections de cuivres et de nombreux cuivres différents. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 568 Chapitre 16 Instruments GarageBand Hybrid Basic GarageBand L’instrument Hybrid Basic est un synthétiseur basé sur des échantillons permettant de créer des sons spectaculaires. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Waveform : choisissez le jeu d’échantillons utilisé pour générer le son du synthétiseur de base. • CurseurGlide : détermine le temps nécessaire pour qu’une hauteur tonale soit remplacée par une autre (par un effet de glissement). Chapitre 16 Instruments GarageBand 569 • Curseur Wheel to Vibrato : détermine la modulation de tonalité par la roulette de modulation de votre clavier. • Curseur Wheel to Cutoff : détermine la profondeur de la modulation de fréquence de coupure par la roulette de modulation de votre clavier. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Menu local Cutoff Type : vous permet de sélectionner une courbe parmi plusieurs courbes de filtre préréglées. Essayez-les et testez les paramètres Cutoff et Resonance. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Attack : détermine la durée qui s’écoule avant que le paramètre Cutoff ait un effet sur le son. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 570 Chapitre 16 Instruments GarageBand Hybrid Morph GarageBand L’instrument Hybrid Morph est un synthétiseur basé sur des échantillons permettant de créer des sons spectaculaires. Il se distingue de l’instrument Hybrid Basic dans la mesure où chaque forme d’onde est basée sur deux couches d’échantillons. Son caractère sonore est donc différent. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Waveform : choisissez le jeu d’échantillons utilisé pour générer le son du synthétiseur de base. • Curseur Morph : contrôle les fondus entre les deux couches d’échantillons. Chapitre 16 Instruments GarageBand 571 • Curseur Morph Envelope : contrôle le paramètre Morph au fil du temps. Par exemple, si vous définissez le paramètre Morph sur B et le paramètre Morph Envelope sur « From A to B », la forme de l’onde du son se modifie de la valeur A à la valeur B selon les réglages d’enveloppe ADSR. Remarque : si vous réglez le paramètre Morph sur A et le paramètre Morph Envelope sur « From A to B », certains réglages ADSR n’entraîneront aucun son. Dans ce cas, vous pouvez obtenir des résultats intéressants en utilisant le contrôle de modulation afin de faire décaler la valeur du paramètre Morph lors de représentations en direct. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Menu local Cutoff Type : vous permet de sélectionner une courbe parmi plusieurs courbes de filtre préréglées. Essayez-les et testez les paramètres Cutoff et Resonance. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Envelope : détermine la force de l’enveloppe appliquée au paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 572 Chapitre 16 Instruments GarageBand Piano GarageBand L’instrument Piano est basé sur des échantillons. Il émule différentssons de piano classique et jazz. Il émule également plusieurs accordéons, un clavecin, et il propose de nombreux sons de nappe. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 573 Sound Effects GarageBand Les effets sonores sont basés sur des échantillons. Ils proposent de nombreux sons de la nature, des rires, des applaudissements, etc. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 574 Chapitre 16 Instruments GarageBand Strings GarageBand L’instruments Strings est basé sur des échantillons. Il émule plusieurs sections de cordes et de nombreux instruments à cordes différents, notamment des violons, des altos, des violoncelles, des harpes et plusieurs instruments traditionnels comme le sitar, le koto et la cithare. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 575 Tonewheel Organ GarageBand Le son Orgue à roues phoniques est basé sur l’EVB3. Il émule l’orgue Hammond B3 mais il peut également émuler les orgues Farfisa, Wurlitzer et d’autres orgues électriques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Drawbars : augmente ou diminue le nombre de tons sinusoïdaux et d’harmoniques, pour un son plus épais (more) ou plus fin (less). • Curseur Percussion Level : ajoute un deuxième ou troisième harmonique au son, ce qui change à la fois la couleur et le timbre d l’instrument. • Curseur Percussion Time : maintient le deuxième ou le troisième harmonique lorsqu’il est définisur une valeur longue. Si voussélectionnez une valeur courte, les harmoniques sont entendues uniquement lors de la frappe initiale. • Curseur Click : introduit un clic dans la frappe. Sélectionnez un niveau élevé si vous souhaitez entendre distinctement ce son. • Curseur Distortion : rend le son grossier et bruyant. Ce paramètre est parfaitement adapté si vous souhaitez faire des reprises de Deep Purple ! 576 Chapitre 16 Instruments GarageBand • Boutons Rotary Speaker : choisissez l’un des trois effets de haut-parleur. • Chorale : donne un effet « tourbillonnant » au son. • Brake : donne initialement un effet « tourbillonnant » au son, puis ralentit. • Tremolo : fait « trembler » le son. Tuned Percussion GarageBand Le son de percussion syntonisée est basé sur des échantillons. Il émule un vibraphone, un xylophone, des timbales, des tambours d’acier et d’autres instruments de percussion syntonisée. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 577 Voice GarageBand Le son vocal est basé sur des échantillons. Il émule un chœur mixte. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 578 Chapitre 16 Instruments GarageBand Woodwind GarageBand Le son des instruments à bois est basé sur des échantillons. Il émule le son d’instruments à vent comme des flûtes, des clarinettes, des saxophones et plusieurs autres instruments provenant de différentes cultures du monde. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 579 Si vous êtes un récent utilisateur de synthétiseurs, lisez cette annexe qui contient des informations importantes relatives aux synthétiseurs et des explications concernant la différence entre les synthétiseurs analogiques, numériques et analogiques virtuels. Vous y découvrirez les principaux termes relatifs aux synthétiseurs et les principes de fonctionnement de base dessynthétiseurs matériels et logiciels. Cette annexe ne contient pas d’informations scientifiques détaillées sur le fonctionnement et les théories mathématiques de la synthèse. Il s’agit d’un simple guide vous expliquant les éléments de base que vous devez connaître, ainsi que quelques informations complémentaires intéressantes. Prenez le temps de lire cette annexe attentivement, dans l’ordre, et n’hésitez pas à faire des expérimentations personnelles avec l’ES1, l’ES2 et les autres instruments MainStage. Visualiser et utiliser les paramètres et autres options affichées à l’écran vous permettra de mieux comprendre les aspects conceptuels et pratiques des synthétiseurs. Cet appendice traite des sujets suivants : • Principes de base du son (p 581) • Qu’est-ce qu’un synthétiseur ? (p 585) • Fonctionnement des synthétiseurs soustractifs (p 587) • Autres méthodes de synthèse (p 603) • Brève histoire du synthétiseur (p 608) Principes de base du son Avant de vous intéresser aux différents composants de génération sonore dont dispose un synthétiseur, il est important que vous compreniez le fonctionnement du son en lui-même. Techniquement, un son correspond à la conversion d’une énergie physique, par exemple un claquement de main, en une perturbation de la pression de l’air. Ce changement de pression est transmis dans l’air sous la forme d’une série de vibrations (onde sonore). Les vibrationssonores peuvent également être transmises par d’autres matériaux, par exemple un plancher ou un mur. 581 Notions élémentaires sur les synthétiseurs Anne xe Si les vibrations suivent un motif périodique, le son présente ce que l’on appelle une « forme d’onde ». La figure ci-dessus est un oscillogramme (représentation graphique) d’onde sinusoïdale, la forme d’onde la plus simple et la plus pure. Si les vibrations ne suivent pas de motif perceptible, le son est considéré comme un bruit. La répétition d’une forme d’onde, c’est-à-dire l’alternance de pics et de creux au niveau de l’oscillogramme, est appelée cycle. Le nombre de cycles par seconde détermine la hauteur tonale de base de la forme d’onde, communément appelée fréquence. La plupart des instruments MainStage disposent d’une commande Hz (Hertz) ou Frequency (Fréquence) qui détermine le nombre de cycles par seconde, et donc la hauteur tonale. Sons, sons dominants et sons partiels La fréquence d’un son est également appelé son fondamental. Les formes d’onde de tous les sons, excepté l’onde sinusoïdale de base, se composent d’un son fondamental et de nombreux autres sons de fréquence différente. Les sons non fondamentaux, quisont des nombres entiers multiples du son fondamental,sont appelés sons dominants ou harmoniques. Les sons non fondamentaux multipliés par des fractions (autres que des nombres entiers)sont appeléssons partiels. Un son divisé par la fréquence du son fondamental est appelé sous-harmonique. • Le son fondamental est appelé premier harmonique. Il est général plus fort (en volume) que les autres harmoniques. 582 Annexe Notions élémentaires sur les synthétiseurs • Un son joué à deux fois la fréquence du premier harmonique est appelé deuxième harmonique. • Un son joué à quatre fois la fréquence du premier harmonique est appelé quatrième harmonique, etc. Chacun de ces harmoniques dispose d’une qualité de timbre différente, par rapport au son fondamental. En général, les harmoniques pouvant être multipliés ou divisés par un nombre entier (par exemple les octaves, les harmoniques pairs ou impairs, etc.) sont plus « musicaux » ou harmonieux. Les sons ne pouvant être multipliés ou divisés par un nombre entier sont appelés sons dominants neutres ou inharmoniques ou sons partiels. Lorsque vous combinez plusieurs de ces sons inharmoniques, le résultat est généralement bruyant et peu agréable. Spectre de fréquences Un son fondamental, lorsqu’il est associé à des harmoniques de différents niveaux, est perçu par l’oreille comme un son. La hiérarchie (relation de niveau) entre ces éléments sonores change avec le temps (contrôlé par les enveloppes, sujet abordé plus loin dans cette annexe). La combinaison d’un grand nombre d’harmoniques est appelée spectre harmonique ou, plus couramment, spectre de fréquences. Le spectre de fréquences comprend tous les éléments sonores individuels d’un son. Il se visualise de bas en haut et de gauche à droite. Les niveaux respectifs des harmoniques se lisent verticalement ; les crêtes les plus élevées correspondant aux niveaux les plus élevés. Graphique spectral de la fréquence d’un son d’orgue L’illustration ci-contre présente la relation niveau-fréquence entre le son fondamental et les harmoniques, à un moment donné dansle temps. Cette relation évolue en permanence, ce qui entraîne également des variations continues au niveau du spectre de fréquences, et donc du son. Annexe Notions élémentaires sur les synthétiseurs 583 Autres propriétés de la forme d’onde Comme nousl’avons expliqué précédemment, une onde sonore est dotée d’une fréquence. Les autres propriétés des ondessonoresincluent l’amplitude, la longueur d’onde, la période et la phase. Amplitude Longeur d’onde • Amplitude : l’amplitude d’une forme d’onde indique l’importance du changement de pression d’air. Elle peut être mesurée en tant que distance verticale maximale à partir d’une pression zéro ou « silence » (affichage sous la forme d’une ligne horizontale à 0 dB dans l’illustration). En d’autres termes, l’amplitude est la distance entre l’axe horizontal et le haut de la crête ou le bas du creux de la forme d’onde. • Longueur d’onde : la longueur d’onde est la distance entre les différents cycles de la forme d’onde pour une fréquence donnée. Plusla fréquence est élevée, plusla longueur d’onde est courte. • Période : la période (d’onde) est le laps de temps nécessaire pour réaliser un cycle complet de forme d’onde. Plus la fréquence est élevée (rapide), plus la période est courte. • Phase : la phase compare le rythme des formes d’onde ; elle se mesure en degrés, de 0 à 360. Lorsque deux formes d’onde commencent en même temps, on dit qu’elles sont en phase ou en alignement de phase. Lorsqu’une forme d’onde est légèrement en retard par rapport à une autre, on dit qu’elles sont hors phase ou déphasées. Remarque : il est difficile de détecter une différence de phase constante sur l’ensemble de la durée de l’onde (période) ; toutefois, si la phase de l’une des formes d’onde change sur la durée, l’effet devient audible. C’est le cas pour les effets audio les plus courants, tels que le flanging et le décalage de phase. 584 Annexe Notions élémentaires sur les synthétiseurs Lorsque vous jouez avec un décalage de phase de deux sons identiques, certaines composantes de fréquence (les harmoniques) peuvents’annuler et générer des moments de silence. On parle alors d’annulation de phase, un phénomène qui se produit lorsque les mêmes fréquences se croisent, au même niveau. Phase : 180° Phase : 0° Théorème de Fourier et harmoniques « Chaque onde périodique peut être considérée comme la somme d’ondessinusoïdales ayant une longueur et amplitude d’onde données, les longueurs d’onde ayant des relations harmoniques (rapports de petits nombres) ». C’est ce que l’on appelle le Théorème de Fourier. Traduit en termes plus musicaux, cela signifie que tout son ayant une certaine hauteur tonale peut être considéré comme un mélange de sonssinusoïdaux. Ceux-ci étant composés du son fondamental et de ses harmoniques (sons dominants). Par exemple, l’oscillation de base (son fondamental ou premier harmonique) est un A (La) à 220 Hz. Le second harmonique a une fréquence double (440 Hz), le troisième oscille trois fois plus vite (660 Hz), les suivants quatre et cinq fois plus vite, et ainsi de suite. Qu’est-ce qu’un synthétiseur ? La synthèse sonore est la production électronique de son, qui commence par les propriétés de base du son, telles que les sons sinusoïdaux et autres ondes simples. Les synthétiseurs tirent leur nom du fait qu’ils imitent, ou synthétisent, une large gamme de sons : un autre instrument, une voix, un hélicoptère, une voiture ou encore un chien qui aboie. Les synthétiseurs peuvent également produire des sons qui n’existent pas à l’état naturel. Cette capacité à générer dessons qui ne peuvent pas être créés d’une autre façon fait du synthétiseur un outil musical unique. La forme de synthétiseur la plus simple pourrait être un générateur d’onde sinusoïdale basique, n’offrant que peu de contrôle sur la hauteur tonale. Malheureusement, un tel synthétiseur ne permettrait pas de synthétiser grand chose, à part une onde sinusoïdale. Annexe Notions élémentaires sur les synthétiseurs 585 Toutefois, combiner plusieurs générateurssinusoïdaux avec contrôle de la hauteur tonale peut produire des sons très utiles et intéressants. Dans un synthétiseur, le composant chargé de la génération du son est l’oscillateur. La plupart des oscillateurs de synthétiseur génèrent desformes d’onde trèsriches d’un point de vue harmonique, tels que les ondes en dents de scie, triangles, carrées et pulsées. Ces noms proviennent de la ressemblance entre l’objet et la forme de l’onde (onde en forme de dents de scie, de triangle, de carré, etc.). Pour plus d’informations sur les principales formes d’onde des synthétiseurs, consultez Oscillateurs. Pour transformer le son fondamental et les harmoniques associés en un son différent, conforme à vos souhaits, vous devez acheminer le signal provenant d’un composant (ou module) du synthétiseur vers un autre. Chaque module réalise une tâche différente, qui affecte le signal source. Dans un synthétiseur modulaire, le routage du signal s’effectue par un câblage physique qui relie les différents modules. Sur les synthétiseurs plus récents, cependant, le routage du signal entre les modules est précâblé à l’intérieur du système et peut être contrôlé à l’aide de commutateurs, de potentiomètres et autres commandes. Pour connaître les différents composants d’un synthétiseur et leur interaction afin de contrôler et de mettre en forme votre son, consultez Fonctionnement des synthétiseurs soustractifs. Les synthétiseurs existent depuis plus longtemps que vous ne l’imaginez certainement. Avant l’avènement des technologies numériques, tous les synthétiseurs électroniques étaient analogiques. Et avant même l’utilisation de l’électricité, il existait dessynthétiseurs mécaniques. Si vous souhaitez en savoir plus à ce sujet, consultez Brève histoire du synthétiseur. Analog Un synthétiseur analogique combine différents circuits commandés en tension (tels que les oscillateurs, les filtres et les amplificateurs) pour générer et mettre en forme les sons. En général, la tension requise est directement liée à la hauteur tonale de la forme d’onde (hauteurs tonales élevées, tensions élevées). numérique Dans un synthétiseur numérique, le flux du signal est numérique. Il s’agit de descriptions binaires du signal (une suite de 0 et de 1) qui passent d’un algorithme à un autre. Synthétiseurs hybrides analogiques et numériques Certains synthétiseurs sont équipés d’amplificateurs et d’oscillateurs numériques (qui génèrent les signaux envoyés aux filtres analogiques). Cette approche a pour principal avantage d’éviter toute dérive de la hauteur tonale, problème que l’on rencontre fréquemment sur les oscillateurs analogiques. 586 Annexe Notions élémentaires sur les synthétiseurs Analogique virtuel Un synthétiseur analogique virtuel est un synthétiseur numérique qui imite l’architecture, les fonctionnalités et reprend les particularités d’un synthétiseur analogique. Le comportement et les fonctionnalités des oscillateurs, filtres et autres modules présents dans un synthétiseur analogique sont émulés(imités) par des algorithmesinformatiques. L’ES1 est un exemple de synthétiseur analogique virtuel. Le cheminement du signal virtuel sur ce modèle est celle d’un synthétiseur analogique standard, mais tout le traitement du signal (oscillateurs virtuels, etc.) est réalisé par le processeur (CPU) de votre ordinateur. L’ES1 possède même certaines particularités intéressantes des circuits analogiques, qui peuvent parfois donner un joli son, tels que des niveaux d’oscillateur élevés saturant le filtre. Les phénomènes indésirables propres aux synthétiseurs analogiques, tels que leur tendance à se désaccorder complètement, ne sont pas simulés par les synthétiseurs virtuels. Les synthétiseurs analogiques virtuels ont également d’autres avantages par rapport à leurs homologues analogiques : ils sont totalement programmables (vous pouvez sauvegarder vosréglages de sons), ils peuvent être entièrement automatisés(vous pouvez enregistrer et lire les mouvements de l’équilibreur et des potentiomètres) et ils sont souvent multitimbre (vous pouvez jouer différents sons en même temps, sur des canaux d’instruments différents). D’autres aspects, tels que la polyphonie (capacité à jouer plusieurs notes en même temps) et la sensibilité à la vélocité, sont disponibles sur la plupart des synthétiseurs analogiques virtuels, mais rarement sur les synthétiseurs analogiques. Fonctionnement des synthétiseurs soustractifs Il existe de nombreuses approches dans la création de sons à l’aide d’un synthétiseur (consultez Autres méthodes de synthèse). Bien qu’il y ait beaucoup de différences entre les divers modèles de synthétiseur, la plupart disposent d’une architecture de base et d’un cheminement du signalsimilaires, fondéssur les principes de la synthèse soustractive. La légende voudrait que, lorsqu’il lui a été demandé comment il avait réussi à sculpter David dans un bloc de pierre, Michel-Ange ait répondu « J’ai simplement retiré tout ce qui ne ressemblait pas à David ». Par essence, c’est de cette façon que fonctionne la synthèse soustractive : vous filtrez (retirez) les portions du son que vous ne souhaitez pas entendre. En d’autrestermes, vous soustrayez certaines parties du spectre de fréquences, quise compose du son fondamental et des harmoniques associés. Annexe Notions élémentaires sur les synthétiseurs 587 L’approche soustractive de la synthèse suppose qu’un instrument acoustique peut être imité à l’aide d’un simple oscillateur, qui produit des formes d’onde offrant différents spectres de fréquences. Le signal est envoyé par l’oscillateur jusqu’à un filtre qui représente lesrésonances et pertes dues à la fréquence, au niveau du corps de l’instrument. Le signal filtré (ou non filtré) est mis en forme sur la durée par la section d’amplificateur du synthétiseur. Les caractéristiques spécifiques de l’instrument réel, en termes de timbre, d’intonation et de volume, peuvent en théorie être recréées en combinant ces composantes de manière à reproduire le comportement naturel de l’instrument que vous tentez d’émuler. Dans la réalité, cependant, les synthétiseurs soustractifs ne constituent pas l’outil idéal pour émuler desinstrumentsréels. Une clarinette synthétisée ne trompera jamais personne, d’autant plus qu’aujourd’hui, des échantillonneurs tels que l’EXS24 mkII ont à leur disposition des milliers de giga-octets de bibliothèques de sons. L’intérêt majeur d’un synthétiseur soustractif est qu’il offre une palette sonore unique et originale. Touslessynthétiseurs analogiques et analogiques virtuels utilisent la synthèse soustractive pour générer des sons. Présentation des composants d’un synthétiseur soustractif La panneau avant des synthétiseurs soustractifs contient divers modules de traitement et de génération de signalsimilaires, couplés à des modules de contrôle et de modulation. Les modules de traitement et de génération du signal fonctionnent généralement de gauche à droite, en reflet du cheminement du signal d’un synthétiseur réel. Synthétiseur de base Entrée Output Contrôle global Modulateur Oscillateur Filter Amplificateur 588 Annexe Notions élémentaires sur les synthétiseurs Composants de traitement et de génération du signal • Oscillateurs : ils génèrent le signal de base. Il s’agit généralement d’une forme d’onde riche en harmoniques(consultez Oscillateurs). De nombreux synthétiseurssont équipés de plusieurs oscillateurs. • Section Filter : sert à modifier le signal de base en filtrant (retirant) certaines portions du spectre de fréquences. De nombreux synthétiseurs disposent d’un filtre simple universel, qui s’applique à tous les signaux d’oscillateur. Les synthétiseurs multi-oscillateur peuvent contenir plusieursfiltres, ce qui permet de filtrer chaque signal d’oscillateur de manière différente (consultez Filtres). • Section Amplifier : sert à contrôler le niveau du signal sur la durée. L’amplificateur est équipé d’un module appelé enveloppe, qui se décompose en plusieurs éléments permettant de contrôler le niveau des différentes portions du son (début, milieu et fin). Les synthétiseurs simples possèdent généralement une seule enveloppe, qui sert à contrôler l’oscillateur (et le filtre) dans le temps. Les synthétiseurs plus complexes peuvent avoir plusieurs enveloppes (consultez Enveloppes de la section Amplifier). Composants de modulation et de contrôle • Modulateurs : servent à moduler les composants de traitement et de génération du signal. Ces modulations peuvent être automatiques (générées automatiquement par un composant du synthétiseur) ou manuelles (activées manuellement à l’aide de la roulette de modulation, par exemple). La plupart des synthétiseurs disposent d’un composant appelé oscillateur sub-audio ou LFO (Low Frequency Oscillator), qui produit une forme d’onde qui module le signal. Consultez Modulation. • Commandes globales : affectent les caractéristiques générales du son de votre synthétiseur, telles que la transition entre les notes, le Pitch Bend, la lecture monophonique ou polyphonique, et bien plus encore (consultez Commandes globales). Oscillateurs Le signal audio d’un synthétiseur est généré par l’oscillateur. Vous faites généralement votre choix parmi une sélection de formes d’onde contenant divers types et quantités d’harmoniques. La relation de niveau entre le son fondamental et les harmoniques, pour une forme d’onde donnée, est responsable de la couleur ou timbre de base du son. Principales formes d’onde d’un synthétiseur Les qualités des formes d’onde les plus courantes dans les synthétiseurs sont présentées ci-dessous. Annexe Notions élémentaires sur les synthétiseurs 589 Onde sinusoïdale L’onde sinusoïdale, nette et claire, contient uniquement le premier harmonique ; en d’autres termes, il s’agit du son fondamental. Utilisée seule, l’onde sinusoïdale permet de créer des sons purs, par exemple, un sifflement, le son d’un doigt mouillé sur le bord d’un verre, un diapason, etc. En dents de scie L’onde en dents de scie, claire et éclatante, contient aussi bien des harmoniques pairs que des harmoniques impairs. Elle est idéale pour créer des sons de cuivre, de pad, de nappe et de basse. Ondes carrées et pulsées L’onde carrée, au son creux et de bois, contient une large gamme d’harmoniquesimpairs. Elle est utile dans la création d’instruments à anche, de nappe et de basse. Elle peut également être utilisée pour émuler les grosses caisses, les congas, les toms et autres instruments de percussion. Elle estsouvent associée à une autre forme d’onde d’oscillateur, par exemple un bruit. 590 Annexe Notions élémentaires sur les synthétiseurs La forme d’onde carrée peut être modifiée su la plupart des synthétiseurs, pour que les cycles (ou impulsions) soient plus rectangulaires, grâce à une commande de modulation d’impulsions en durée (MID). Plus l’onde devient rectangulaire, plus le son est nasal. Avec ce type de modulation, l’onde carrée prend le nom d’onde pulsée et contient moins d’harmoniques. Elle peut être utilisée pour les sons de cuivre, de basse et d’instrument à anche. Consultez Modification de la forme d’onde. Onde triangulaire Tout comme l’onde carrée, l’onde triangulaire contient uniquement des harmoniques impairs. Les harmoniques hautes d’une onde triangulaire se déroulent plus rapidement que ceux d’une onde carrée, c’est pourquoi le son d’une onde triangulaire est plus doux. Elle est idéale pour créer des sons de flûte, de nappe et de chœurs vocaux. Bruit : rose/rouge, bleu, blanc Le bruit est utile car il permet d’imiter dessons de percussion, par exemple la caisse claire, ou encore le son du vent et des vagues. • Bruit blanc : forme d’onde de bruit la plus courante sur les synthétiseurs. Le bruit blanc contient, à plein niveau, toutes les fréquences situées autour d’une fréquence centrale. Annexe Notions élémentaires sur les synthétiseurs 591 • Bruit rose et bruit rouge : ces bruits contiennent également toutes les fréquences, mais pas à plein niveau sur l’ensemble du spectre. Le bruit rose diminue le niveau de 3 dB par octave (sur les fréquences élevées). Le bruit rouge diminue le niveau de 6 dB par octave. • Bruit bleu : opposé du bruit rose, ce bruit augmente de 3 dB le niveau de toutes les fréquences, dans les octaves hautes. Il existe des bruits d’autres couleurs, mais ils sont rares dans les synthétiseurs. Modification de la forme d’onde Il est possible de déformer les formes d’onde basiques afin de créer de nouvelles formes d’onde. Ceci permet d’obtenir un timbre ou une couleur tonale différent(e), pour une palette de sons plus large. Il existe de nombreuses méthodes pour modifier une forme d’onde. La plus évidente consiste à modifier la largeur d’impulsion d’une onde carrée, comme expliqué à la rubrique Principales formes d’onde d’un synthétiseur. Entre autres approches possibles, vous pouvez également modifier l’angle de phase, déplacer le point de départ du cycle de la forme d’onde ou simplement combiner plusieurs formes d’onde sur un synthétiseur multi-oscillateur. Lorsque vous faites appel à l’une des méthodes ci-dessus, la relation entre le son fondamental et les autres harmoniques change, altérant le spectre de fréquences et le son de base produit. 592 Annexe Notions élémentaires sur les synthétiseurs Filtres L’objectif du filtre, sur un synthétiseur soustractif, est de supprimer certaines portions du signal (spectre de fréquences) envoyées par les oscillateurs. Après avoir été filtrée, une onde en dents de scie éclatante donne un son adouci, chaud et sans aigus agressifs. Lessections de filtre de la plupart dessynthétiseurssoustractifs contiennent deux contrôles principaux appelés cutoff frequency (ou simplement cutoff) et resonance. Les paramètres de filtre peuvent également inclure les paramètres drive et slope. La section filtre de la plupart des synthétiseurs peut être modulées par des enveloppes, des oscillateurs sub-audio (LFO) ou d’autres commandes telles que la roulette de modulation. Types de filtre Il existe plusieurstypes de filtre. Chacun d’eux a un effet différentsur les diverses portions du spectre de fréquences : Passe-haut Refus de bande Lowpass • Filtre passe-bas : les basses fréquences sont transmises ; les hautes fréquences sont atténuées. • Filtre passe-haut : les hautes fréquences sont transmises ; les basses fréquences sont atténuées. • Filtre passe-bande : seules les fréquences d’une bande donnée sont transmises. • Filtre Band Reject (de réjection de bande) : seules les fréquences d’une bande donnée sont atténuées. • Filtre allpass : toutes les fréquences du spectre sont transmises, mais la phase de sortie est modifiée. Fréquence de coupure Le paramètre cutoff frequency, ou cutoff, détermine, comme son nom l’indique, l’endroit où le signal est coupé. Lessynthétiseurssimples disposent uniquement de filtres passe-bas. Par conséquent, si un signal contient des fréquences allant de 20 à 4 000 Hz et que la fréquence de coupure est définie sur 2 500 Hz, les fréquences supérieures à 2 500 Hz sont filtrées. Le filtre passe-bas laisse passer sans les altérer les fréquences inférieures au point de coupure (2 500 Hz). Annexe Notions élémentaires sur les synthétiseurs 593 L’illustration ci-dessous présente une onde en dents de scie (A = 220 Hz). Le filtre est ouvert, avec une valeur de coupure maximale. En d’autrestermes, le signal de cette forme d’onde n’est pas du tout filtré. L’illustration ci-dessous présente une onde en dents de scie avec un filtre de coupure défini sur environ 50 pour cent de sa valeur maximale. Ce réglage de filtre entraîne la suppression des hautesfréquences et un « adoucissement » des angles de l’onde en dents de scie, pour un résultat plus proche d’une onde sinusoïdale. D’un point de vue sonore, ce réglage adoucit le son et lui donne une tonalité moins cuivrée. Comme vous pouvez le voir dans cet exemple, l’utilisation de filtres pour découper des portions du spectre de fréquences entraîne une altération de la forme d’onde, et par là même du timbre sonore. 594 Annexe Notions élémentaires sur les synthétiseurs Resonance La commande de résonance accentue ou supprime les signaux situés autour de la fréquence de coupure. L’illustration ci-dessous présente une onde en dents de scie ES1, avec un réglage de résonance élevé et une fréquence de coupure de 600 Hz, soit environ 60 pour cent de la valeur maximale. Ce réglage de filtre de résonance permet d’obtenir dessignaux plus clairs et plus agressifs aux alentours de la fréquence de coupure. Les fréquences inférieures au point de coupure ne sont pas affectées. Une fois encore, l’utilisation d’un filtre de résonance résulte globalement en une modification de la forme de l’onde et, par conséquent, de son timbre. Un réglage de résonance très élevé peut être utilisé avec comme conséquence extrême l’oscillation du filtre, le résultat final étant la génération d’une onde sinusoïdale par le filtre. Drive Le paramètre de drive ajoute un certain degré de gain à la forme d’onde en entrée de filtre (commande de gain d’entrée), entraînant une surcharge du filtre et une déformation de la forme d’onde. Cette déformation change le timbre du son, le rendant plus agressif. Consultez Modification de la forme d’onde pour plus d’informations sur les déformations de forme d’onde. Annexe Notions élémentaires sur les synthétiseurs 595 L’illustration ci-dessous présente une onde en dents de scie non filtrée, avec un réglage de drive de 80 pour cent. Notez que les cycles de l’onde touchent le plancher et le plafond de la plage dynamique du filtre. inclinaison de filtre Comme expliqué précédemment, un filtre modifie le signal à la fréquence de coupure définie. Cette coupure n’est pas abrupte ; elle suit une pente donnée qui se mesure en décibels (dB) de réduction du gain par octave. En d’autres termes, vous pouvez définir le degré de pente au point de coupure, en spécifiant une pente plus ou moins importante. Fréquence de coupure 6 dB/Oct 12 dB/Oct 24 dB/Oct Enveloppes de la section Amplifier Le module amplificateur d’un synthétiseur est chargé de contrôler le niveau (ou intensité) du signal sur la durée. D’un point de vue musical, imaginez le son d’un violon qui augmente progressivement en intensité, jusqu’à atteindre son niveau maximum (crête), avec l’archet glissant sans effort sur la corde ; le son s’arrête ensuite abruptement lorsque l’archet est éloigné de la corde. En comparaison, vous obtenez un niveau maximum trèsrapide lorsque voustapez sur une caisse claire à l’aide de baguettes, sans portion de soutien. Le son s’arrête immédiatement (bien qu’il y ait un certain degré de chute, à savoir le temps mis pour redescendre depuis le niveau maximum). Comme vous pouvez le constater, ces deux sons ont des caractéristiques très différentes sur la durée. Les synthétiseurs sont capables d’imiter ces caractéristiques sonores en permettant de contrôler les différentes portions du niveau sonore, sur la durée (début, milieu et fin). Ce contrôle s’effectue à l’aide d’un composant appelé générateur d’enveloppe. 596 Annexe Notions élémentaires sur les synthétiseurs Commandes d’enveloppe Attack, Decay, Sustain et Release (ADSR) L’illustration ci-dessous est un oscillogramme de son de percussion, danslequel le niveau atteint immédiatement le haut de la plage, puis chute. Si vous dessiniez une ligne autour de la moitié supérieure de cet oscillogramme, cette ligne constituerait l’enveloppe du son : une représentation du niveau en fonction du temps. C’est ce que fait le générateur d’enveloppe pour définir la forme de l’enveloppe. Attack Decay Release Sustain Durée pendant laquelle la touche est maintenue enfoncée Le générateur d’enveloppe dispose généralement de quatre commandes,souvent appelées ADSR : l’attaque (Attack), la chute (Decay), le soutien (Sustain) et le relâchement (Release). • Attack : contrôle le temps nécessaire pour passer d’une amplitude de zéro à une amplitude maximale de 100 pour cent. • Decay : détermine le temps pour passer ensuite de l’amplitude maximale (100 pour cent) au niveau de soutien défini. • Sustain : définit le niveau d’amplitude maintenu lorsque la touche est tenue enfoncée. • Release : définit le temps nécessaire pour que le son passe du niveau de soutien défini à une amplitude de zéro, lorsque la touche est relâchée. Si vous relâchez une touche durant la phase d’attaque ou de chute, la phase de soutien est généralement ignorée. Un niveau de soutien nul (zéro) produira une enveloppe de type piano (ou percussion), sans maintien d’un niveau continu, même lorsque la touche est tenue enfoncée. Utilisation de l’enveloppe pour contrôler les filtres Les générateurs d’enveloppe ne se limitent pas à contrôler l’amplitude du signal. Ils peuvent également contrôler la montée et la descente de la fréquence de coupure du filtre ou moduler d’autres paramètres. En d’autres termes, les générateurs d’enveloppe peuvent être utilisés comme source de modulation ou, si vous préférez, comme « commande à distance » pour un paramètre donné. Cet aspect des synthétiseurs (la modulation) est abordé dans la rubrique suivante. Annexe Notions élémentaires sur les synthétiseurs 597 Modulation Sans modulation, lessonstendent à être ennuyeux et fatigants pour l’oreille. Ils paraissent égalementsynthétiques, moins naturels, en l’absence de tout type de modulation sonore. Le type de modulation le plus évident est le vibrato, qui est utilisé par les musiciens d’orchestre pour animer la hauteur tonale de leur instrument à cordes. Pour rendre un son plus intéressant, vous pouvez utiliser plusieurs commandes de synthétiseur afin de moduler les paramètres sonores de base. Routage des modulations De nombreux synthétiseurs, notamment les modèles ES1 et ES2, et l’échantillonneur EXS24 mkII, disposent d’un routeur de modulation. Ce routeur vous permet d’associer une ou plusieurs sources de modulation à une ou plusieurs cibles (ou destinations) de modulation. Par exemple, vous pouvez modifier des cibles de modulation, telles que la tonalité de l’oscillateur ou la fréquence de coupure du filtre, en utilisant les sources de modulation suivantes : • Modulation de vélocité : impact de votre jeu de clavier (plus dur ou plus doux). • Suivi clavier : votre position pour jouer sur le clavier. • Utilisation des commandes: celles-ci incluent la roulette de modulation, les contrôleurs de ruban ou les pédales associés à votre clavier. • Modulation automatique : vous pouvez utiliser les générateurs d’enveloppe ou les LFO pour moduler automatiquement les signaux. Routage de modulation sur les modèles ES1 et ES2 Les modèles ES1 et ES2 permettent de router facilement une commande (source de modulation) vers la section souhaitée du moteur de son (cible de modulation). Pour obtenir des détailssur l’utilisation desfonctions de modulation et des paramètres associés, consultez ES1 & Boutons Oscillator on/off. 598 Annexe Notions élémentaires sur les synthétiseurs Vous pouvez effectuer un routage de modulation sur l’ES1 en sélectionnant une cible de modulation dans la colonne de boutons de gauche ou de droite, dans la section Router. Utilisez la colonne de gauche pour définir une cible de modulation pouvant être contrôlée (en amplitude) via la roulette de modulation de votre clavier. La cible que vous choisissez dans la colonne de droite répondra de manière dynamique à la vélocité du clavier. L’amplitude (ou plage) de cette modulation est déterminée par les deux flèches situées sur les curseurs (Int via Whl et Int via Vel). La flèche supérieure détermine l’amplitude de modulation maximale et la flèche inférieure l’amplitude minimale. L’ES2 propose dix routages de modulation, présentés en colonnes. Bien que cela paraisse complexe au premier abord, ces colonnes de routage sont en fait assez similaires aux commandes de modulation de l’ES1. Pour information, le premier routage figure à gauche dans l’illustration ci-dessous : La cible de modulation est Pitch123. Cela signifie que la hauteur tonale (paramètre Frequency) des oscillateurs 1, 2 et 3 est affectée (par LFO2, la source de modulation). LFO2 est la source de modulation. Les deux flèchessituées à droite de la colonne indiquent l’amplitude de la modulation. Pour que la modulation soit plus intense, faites glisser vers le haut ou versle basla flèche supérieure, la flèche inférieure ou les deux, afin d’augmenter la plage de l’amplitude de modulation. La flèche supérieure détermine l’amplitude de modulation maximale et la flèche inférieure l’amplitude minimale. La commande Via correspond à ModWhl. L’amplitude de modulation (plage déterminée par les curseurs situés à droite du canal) est directement contrôlée par la roulette de modulation de votre clavier. Lorsque la roulette de modulation est au minimum, l’amplitude de modulation de la hauteur tonale de l’oscillateur est minime, voire inexistante. Lorsque vous montez la roulette de modulation vers le haut, la fréquence des trois oscillateurs est directement contrôlée par le LFO (oscillateur sub-audio), dans la plage définie par les curseurs. Annexe Notions élémentaires sur les synthétiseurs 599 Sources de modulation standard Cette section présente lessources de modulation généralement disponiblessur la plupart des synthétiseurs. Contrôleurs de modulation Les sources de modulation peuvent être, et c’est souvent le cas, déclenchées par une action de votre part, par exemple jouer une note sur le clavier ou actionner la roulette de modulation. C’est pourquoi la roulette de modulation, les rubans Pitch Bend, les pédaliers, le clavier et autres options d’entrée sont souvent appelés contrôleurs de modulation ou plus simplement contrôleurs. L’un des meilleurs exemples de contrôleur de modulation avec action est l’utilisation d’un claviersensible à la vélocité, configuré pour contrôler le filtre et les enveloppes de niveau. Plus vous appuyez fort sur les notes, plus le son est fort et éclatant. Consultez Utilisation d’enveloppes pour la modulation. Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons L’une des sources de modulation disponibles sur la grande majorité des synthétiseurs est l’oscillateur sub-audio ou LFO. Cet oscillateur est utilisé uniquement comme source de modulation et ne génère pas de signaux audibles faisant partie du son de votre synthétiseur, car les fréquences en sont trop basses. Toutefois, il peut affecter le signal principal en ajoutant un effet de vibrato, en filtrant les balayages, etc. Commandes LFO Le LFO dispose généralement des commandes suivantes : • Waveform : vous permet de choisir le type de forme d’onde souhaité (les ondes triangulaires et carréessont les plus courantes). Les ondestriangulairessont utiles pour les balayages de filtre (changements lents de la fréquence de coupure du filtre) ou imiter une sirène d’ambulance (changements lents de la fréquence de l’oscillateur). L’onde carrée est utilisée pour basculer rapidement entre deux hauteurs tonales différentes (vibratos ou changement d’octave, par exemple). • Frequency/Rate : détermine la vitesse des cycles de forme d’onde produits par le LFO. Les valeurs faibles définissent des pentes légères, facilitant la création de sons tels que les vagues de l’océan (lorsque le bruit blanc est choisi comme forme d’onde pour l’oscillateur principal). • Sync mode : vous permet de choisir une exécution libre (fréquence LFO définie par l’utilisateur) ou une synchronisation sur la source de tempo externe (par exemple, une application hôte). 600 Annexe Notions élémentaires sur les synthétiseurs Enveloppes LFO Sur certains synthétiseurs, le LFO peut également être contrôlé avec un générateur d’enveloppes. Cela peut notamment être utile lorsque, dans un son de section corde soutenu, un vibrato est introduit pendant environ une seconde dans la portion soutenue du son. Lorsque cet effet est appliqué automatiquement, vous avez la possibilité de garder vos deux mains sur le clavier. Sur certains synthétiseurs, un générateur d’enveloppes simple est inclus uniquement à cette fin. Souvent, cette enveloppe se compose uniquement d’un paramètre d’attaque ; parfois, elle contient aussi des options de chute ou de relâchement. Ces paramètres fonctionnent de la même façon que les paramètres de l’enveloppe d’amplitude (consultez Enveloppes de la section Amplifier), mais ils se limitent au contrôle des modulations LFO. Utilisation d’enveloppes pour la modulation Le générateur d’enveloppes principal du synthétiseur non seulement contrôle les niveaux sur la durée, mais il est souvent utilisé pour moduler d’autres paramètres sonores lorsque vous enfoncez ou relâchez les touches du clavier. La fonction la plus courante de la modulation Envelope est de contrôler les paramètres de résonance et de coupure du filtre avec les sources de modulations de vélocité ou de suivi clavier (consultez Routage des modulations). Commandes globales Cette section présente les commandes globales qui affectent le signal de sortie général de votre synthétiseur. La commande globale la plus évidente est la commande Level, qui permet de définir l’intensité générale de votre son. Pour plus d’informations sur la commande Level, consultez Enveloppes de la section Amplifier. Voici également d’autres commandes globales : • Glide (parfois appelée Portamento) : utilisée pour définir le temps mis par la hauteur tonale d’une note pour glisser jusqu’à la hauteur tonale d’une autre note, vers le haut ou versle bas. Cette commande est utile lorsque voussouhaitez émuler desinstruments à vent qui « glissent » d’une note à une autre, au lieu de passer sans transition d’une tonalité à la suivante. Annexe Notions élémentaires sur les synthétiseurs 601 • Bender/Bend Range : cette commande est généralement reliée physiquement à une roulette Pitch Bend située sur le clavier. Elle permet d’augmenter ou d’abaisser la hauteur tonale (fréquence de l’oscillateur) en déplaçant la roulette vers le haut ou vers le bas. Le paramètre Bender/Bend Range est généralement doté d’une limite supérieure et d’une limite inférieure d’une octave, mais est en règle générale défini sur trois demi-tons, vers le haut ou vers le bas. Ce réglage est idéal si vous souhaitez imiter les fluctuations de hauteur tonale faibles (ou extrêmes) caractéristiques de certains instruments, par exemple passer d’une note à une autre sur une trompette ou déformer les cordes lors d’un solo sur guitare. • Voices : les synthétiseurs ne peuvent produire qu’un nombre limité de notes simultanément. La capacité à produire simultanément plusieurs notes est appelée polyphonie (littéralement, « plusieurs voix »). Le paramètre Voices permet de définir le nombre maximal de notes pouvant être jouées simultanément. • Unison : commande utilisée pour « empiler » plusieurs voix ; le résultat obtenu (voix à l’unisson) étant entendu une octave plus haut que la fréquence de la note jouée. Lorsque vous jouez une note, deux voix sont utilisées ; c’est pourquoi la fonction d’unisson a deux effets : elle rend le son plus riche et plus plein et elle divise la polyphonie par deux. • Mode Trigger : ce mode détermine comment est gérée la polyphonie de l’instrument lorsque le nombre de notes jouées dépasse le nombre de voix disponibles. Le mode Trigger vous permet également d’attribuer un mode Legato. En bref, cette commande modifie la façon dont le synthétiseur répond à votre technique (jeu), une fonctionnalité précieuse lorsque vous émulez des instruments monophoniques, tels que la flûte, la clarinette et la trompette. Lorsque vous utilisez la commande Trigger Mode, si vous attribuez une priorité de dernière note, la note jouée est coupée en jouant la note suivante. • Last note priority : lorsque vous déclenchez de nouvelles notes alors que toutes les voix disponibles sont déjà jouées, le synthétiseur libère de la polyphonie (voix) en mettant fin aux notes jouées précédemment. Il s’agit du mode Trigger par défaut des synthétiseurs MainStage en mode monophonique. • First note priority : les notes jouées précédemment ne s’arrêtent pas. Avec ce mode, vous devez arrêter de jouer les notes précédentes pour pouvoir en jouer de nouvelles, lorsque vous avez atteint la limite de la polyphonie de l’instrument (nombre de voix). Remarque : le paramètre Trigger Mode vous permet également de définir des priorités pour les notes hautes ou basses, en mode monophonique (une voix à la fois), sur certains modèles de synthétiseur. Il existe de nombreuses autres commandes globales, qui varient en fonction du modèle de synthétiseur utilisé et qui ont une incidence sur votre son général. 602 Annexe Notions élémentaires sur les synthétiseurs Autres méthodes de synthèse Il existe de nombreuses méthodes pour créer des sons, qui font appel à des technologies et à des approches différentes en matière de synthèse. Cette section vous présente les principales méthodes utilisées et fait, le cas échéant, référence aux instruments MainStage appropriés. Nombre des méthodes présentées dans cette section intègrent plusieurs éléments de l’approche de synthèse soustractive expliquée précédemment. L’approche moderne la plus courante est basée sur l’échantillonnage d’instruments et de sons réels. Synthèse par échantillonnage La synthèse par échantillonnage, parfois appelée modulation par impulsion codée (MIC) ou échantillonnage etsynthèse (S&S, Sampling & Synthesis), se différencie principalement de la synthèse soustractive par le fait qu’elle utilise des échantillons au lieu des formes d’onde d’oscillateur. Les enregistrements échantillonnés de sons existants sont associés aux commandes du clavier. Généralement, chaque échantillon est associé à une note au centre de la plage du clavier, qui couvre environ cinq notes associées de manière unique à cet échantillon. Une plage de cinq notes et quelques est utilisée car les échantillons ont tendance à ne plus ressembler au son source s’ils sont joués plus de quelques notes au-dessus ou en dessous de la tonalité originale, du fait de la relation entre la hauteur tonale et la vitesse de lecture des échantillons. La hauteur tonale de chaque échantillon n’est pas modifiée par une commande de fréquence, contrairement à la forme d’onde de l’oscillateursur un synthétiseur qui n’utilise pas d’échantillonnage. Au lieu de cela, l’échantillon est joué (lu) plus rapidement ou plus doucement, afin d’en modifier la hauteur tonale, ce qui a une incidence sur le temps de lecture de l’échantillon. Par exemple, la lecture d’un échantillon joué à deux foissa vitesse initiale durera deux fois moins de temps. L’EXS24 mkII est un lecteur d’échantillons qui peut être utilisé comme synthétiseur avec échantillonnage, grâce à sa fonctionnalité de synthèse soustractive. Les instruments les plus répandus utilisant cette approche en matière de synthèse sont les suivants : Korg’s M1, O1/W et Triton ; instruments Roland JV/XP ; modèles Motif de Yamaha ; etc. Annexe Notions élémentaires sur les synthétiseurs 603 Synthèse par modulation de fréquence (FM) Pour résumer, la synthèse FM implique l’utilisation d’un oscillateur modulateur et d’un oscillateur porteur d’onde sinusoïdale. Le rôle de l’oscillateur modulateur (Modulator) est de moduler la fréquence de l’oscillateur porteur (Carrier) au sein du spectre audio, produisant ainsi de nouvelles harmoniques. Ces harmoniques sont connus sous le nom de bandes latérales. FM Oscillateur Modulator Oscillateur Carrier Forme d’onde résultante En règle générale, les synthétiseurs FM ne disposent pas d’un filtre. Vous pouvez générer des sons standards de synthétiseur soustractif via la synthèse FM, mais il est difficile de recréer le son d’un filtre de résonance de synthétiseur soustractif avec cette méthode. Cependant, la synthèse FM est très utile lorsque vous souhaitez créer des sons difficiles à obtenir avec les synthétiseurs soustractifs, notamment les sons de cloche, les tonalités métalliques et les fines sonorités d’un piano électrique. Autre atout de la synthèse FM, elle offre des sons de cuivre synthétique et de basse très dynamiques. MainStage dispose d’un seul synthétiseur FM, l’EFM1. Bien qu’il soit plutôt minimaliste, ce synthétiseur est capable de produire de nombreux sons FM standard, tels que ceux générés par la célèbre gamme de synthétiseurs DX de Yamaha (le DX7, commercialisé entre 1983 et 1986, reste le synthétiseur matériel professionnel le plus vendu au monde). L’ES2 propose également quelques techniques FM qui vous permettent de moduler un oscillateur avec un autre. Vous pouvez utiliser ces techniques FM pour combler partiellement l’écart qui sépare le son très numérique de la synthèse FM et le son analogique plus « gras » pour lequel est connu l’ES2. 604 Annexe Notions élémentaires sur les synthétiseurs Synthèse par modélisation des composantes Également appelée modélisation physique, cette méthode de synthèse fait appel à des modèles mathématiques pour émuler desinstruments de musique. Différents paramètres sont utilisés pour décrire les caractéristiques physiques d’un instrument, notamment le matériau de fabrication, ses dimensions et l’environnement dans lequel il est joué (eau, air, etc.). Tout aussi importante est la description de l’interaction entre le musicien et son instrument, par exemple s’il joue en pinçant ou en grattant des cordes, ou en les frottant avec un archet, en frappant l’instrument avec une ou plusieurs baguettes, en plaçant ses doigts sur des ouvertures, et ainsi de suite. Pour modéliser le son d’une percussion (tambour), par exemple, les aspects suivants doivent être pris en compte. Il est essentiel de connaître la façon dont la percussion est frappée, la force appliquée et avec quel accessoire (baguette en bois, mailloche, etc.). Les propriétés de la membrane ou peau du tambour peuvent inclure le matériau utilisé, sa rigidité, sa densité, son diamètre et la méthode de fixation au corps du tambour. Le volume du cylindre du tambour, son matériau et les caractéristiques de résonance de tous les éléments indiqués ci-dessus doivent être décrits de manière mathématique. Pour modéliser un violon, vous devez prendre en compte l’archet contre la corde, la largeur de l’archet et son matériau, la tension de l’archet, le matériau de fabrication de la corde, sa densité, sa tension, son comportement en matière de résonance et d’atténuation, le transfert des vibrations de la corde via le chevalet (matériau, taille et forme du chevalet), ainsi que les matériaux, la taille et les caractéristiques de résonance du corps du violon. Vous devez en outre tenir compte de l’environnement dans lequel le violon modélisé est joué, ainsi que le style de jeu (l’archet martèle/frappe les cordes ou glisse dessus). Le composant Scupture est un synthétiseur avec modélisation capable de reproduire de manière convaincante des instruments acoustiques (et électroniques). Il est également exceptionnellement bon dansla création de sons de nappe atmosphériques, en perpétuelle évolution. D’autres instruments proposent des techniques et des composants de modélisation physique, notamment les modèles Ultrabeat, EVP88, EVB3 et EVD6. Synthèse par table d’ondes, vecteurs et arithmétique linéaire (AL) La synthèse par table d’ondes utilise différentes formes d’onde dans un cycle unique, regroupées dans ce que l’on appelle une table d’ondes. Lorsque vous jouez une note sur votre clavier, une séquence d’ondes prédéterminée se déclenche. En général, la transition entre les formes d’onde n’est pas brutale, mais au contraire très douce, ce qui permet d’obtenir une forme d’onde en perpétuelle évolution. Vous pouvez aussi utiliser plusieurstables d’ondessimultanément,soit en lesjouant l’une aprèsl’autre,soit en lesfusionnant, afin d’obtenir desformes d’onde plus complexes d’un point de vue harmonique. Annexe Notions élémentaires sur les synthétiseurs 605 Une table d’ondes simple peut imiter la coupure de filtre avec une séquence de formes d’onde (son éclatant, moins éclatant, puis assourdi) qui reproduit la baisse de fréquence de coupure du filtre d’un synthétiseur soustractif. La synthèse par table d’ondes n’est pas particulièrement adaptée à l’émulation des instruments acoustiques. Par contre, elle est idéale pour la production de sons en constante évolution, de sons métalliques ou agressifs, de sons de cloche, de basses dynamiques et autres sonorités numériques. La synthèse par table d’ondes a été la technique phare des instruments PPG et Waldorf. L’ES2 propose également une fonctionnalité de table d’ondes. Lessynthétiseurs Roland LA (Linear Arithmetic, arithmétique linéaire - AL) tels que le D-50 fonctionnent suivant un principe similaire. Toutefois, sur ces synthétiseurs, le son est créé en combinant des phases d’attaque échantillonnées complexes et des phases de soutien ou de chute simples. Par essence, il s’agit d’une table d’ondes simple composée de deux échantillons. La différence entre les synthétiseurs AL et ceux à table d’ondes est que ces derniers ont été conçus pour créer des sons numériques nouveaux, originaux. Les concepteurs de synthétiseur AL, à l’inverse, souhaitaient imiter les instruments réels avec un minimum de mémoire. Pour ce faire, ils ont combiné des échantillons de la phase d’attaque (la portion cruciale d’un son) et des phases de chute et de soutien appropriées. La synthèse vectorielle, utilisée dans les circuits séquentiels du Prophet-VS et du Korg Wavestation, vous permet de parcourir des tables d’ondes et des séquences disposées sur une grille en deux dimensions (deux vecteurs différents ou, plus simplement, sur l’axe X ou Y). Le principal avantage de cette approche est que la balance (équilibre) entre les échantillons et les ondes est obtenue en temps réel, grâce à une manette. Vous pouvez également utiliser l’ES2 pour réaliser une synthèse vectorielle en modulant le paramètre Oscillator Mix (Triangle) avec l’enveloppe vectorielle (Vector Envelope). Synthèse additive La synthèse additive peut être considérée comme l’approche opposée à la synthèse soustractive. Pour obtenir des informations contextuelles en relation avec la synthèse additive, consultez le début de cette annexe, notamment la discussion sur la façon dont les sons correspondent à l’addition de différents harmoniques et sons sinusoïdaux. Pour résumer, vous partez de rien, puis vous créez progressivement un son en combinant des ondes sinusoïdales de différents niveaux et fréquences. Plus le nombre d’ondes sinusoïdales combinées est grand, plus celles-ci généreront des harmoniques. Sur la plupart des synthétiseurs additifs, chaque ensemble d’ondes sinusoïdales est visualisé et utilisé comme un oscillateur. 606 Annexe Notions élémentaires sur les synthétiseurs Suivant le degré de sophistication du synthétiseur additif que vous utilisez, vous disposez soit d’une commande d’enveloppe individuelle pour chaque onde sinusoïdale,soit d’une commande d’enveloppe unique pour un groupe d’ondes sinusoïdales; par exemple, une enveloppe pour chaque son et ses harmoniques ou une enveloppe pour tous les harmoniques pairs/impairs. MainStagene propose pas de véritable synthétiseur additif ; toutefois, certains aspects de la synthèse additive sont utilisés dans l’EVB3 et les autres orgues à tirettes. Sur l’EVB3, vous partez d’un son de base et lui ajoutez des harmoniques, afin de l’enrichir. La relation de niveau entre le son fondamental et chaque harmonique est déterminée par la façon dont vous actionnez la tirette (jusqu’où vous la tirez). Comme vous ne disposez pas d’une commande d’enveloppe pour chaque harmonique, l’EVB3 se limite à la reproduction des sons d’orgue. Resynthèse Vous pouvez analyser les composantes de fréquence d’un son enregistré, puisresynthétiser (reconstruire) une représentation du son à l’aide de techniques additives. En calculant la fréquence et l’amplitude de chaque harmonique dans le spectre de fréquences global du son, un système de resynthèse additive peut générer une série d’ondes sinusoïdales (avec des niveaux appropriés sur la durée) pour chaque harmonique. Une fois le son resynthétisé suivant cette méthode, vous pouvez ajuster la fréquence et l’amplitude de n’importe quel harmonique. En théorie, vous pourriez restructurer un son d’harmonique pour le rendre non harmonique, par exemple. Synthèse par distorsion de phase La synthèse par distorsion de phase crée différentes formes d’onde en modifiant l’angle de phase d’une onde sinusoïdale. En bref, vous pouvez déformer une onde sinusoïdale jusqu’à ce qu’elle se transforme en onde en dents de scie, en onde triangulaire, en onde carrée, etc. Le moteur du synthétiseur derrière la génération des formes d’onde observe en général la méthode soustractive standard. La synthèse par distorsion de phase a été commercialisée pour la première fois en 1984, sur les synthétiseurs Casio CZ. Synthèse granulaire Le premier principe de la synthèse granulaire est que le son peut être divisé en particules minuscules, appelées « grains ». Ces grains échantillonnés (de 10 à 50 ms de longueur, généralement) peuvent ensuite être réorganisés ou combinés à d’autres grains pour former des sons différents, créer de nouveaux timbres. Annexe Notions élémentaires sur les synthétiseurs 607 Par de nombreux aspects, cette approche est similaire à la synthèse par table d’ondes, mais à une échelle bien inférieure (plus de précision). Comme vous pouvez l’imaginer, cette méthode est idéale pour la création de sons en perpétuelle évolution et de tonalités uniques et originales. La synthèse granulaire présente toutefois l’inconvénient majeur d’être très gourmande en processeur, impossible à réaliser en temps réel jusqu’à une date relativement récente. Pour cette raison, elle était assez peu connue et utilisée dans quelques institutions académiques uniquement. Comme les ordinateurs actuels disposent d’une puissance de traitement suffisante, cette méthode de synthèse est désormais possible et un certain nombre de produits sont aujourd’hui disponibles dans le commerce. Brève histoire du synthétiseur Cet historique contient quelques-unes des principales avancées dans le domaine des synthétiseurs. Les précurseurs du synthétiseur Cela voussurprendra peut-être, maisles graines dessynthétiseurs électroniques modernes ont été plantées aux dernières années du 19e siècle. En 1896/1897, un inventeur américain du nom de Thaddeus Cahill déposait une demande de brevet pour protéger le principe de fonctionnement d’un instrument appelé Telharmonium ou Dynamophone. Pesant près de 200 tonnes, ce mastodonte électronique était alimenté par 12 générateurs électromagnétiques à vapeur. On pouvait en jouer en temps réel, à l’aide de touches sensibles à la vélocité et, fait incroyable, il était capable de générer plusieurssons différents simultanément. Le Telharmonium a été présenté au public lors d’une série de « concerts », en 1906. Baptisée « Telharmonie », cette musique était diffusée via le réseau de téléphone public, car aucun autre système de sonorisation n’existait à l’époque. En 1919, l’inventeur russe Leon Theremin mettait au point une approche radicalement différente. Baptisé d’après son inventeur, le Theremin monophonique était joué sans que le musicien touche l’instrument. Le système détectait la proximité des mains du joueur se déplaçant dans un champ électromagnétique situé entre deux antennes et utilisait cesinformations pour générer un son. Cette technique peu orthodoxe rendait le Theremin très difficile à manipuler. Ses sonorités étranges et envoûtantes (mais plutôt monotones) en ont fait l’instrument favori des bandes-son de beaucoup de films d’horreur. D’ailleurs, R. A. Moog, dont les synthétiseurs devaient plus tard être mondialement reconnus, a commencé à fabriquer des Theremins dès 19 ans. En Europe, le Français Maurice Martenot a conçu le système monophonique Ondes Martenot en 1928. La méthode de génération sonore de cet instrument était semblable à celle du Theremin, avec toutefois comme différence que, sur les premiers modèles, on en jouait en tirant un fil d’avant en arrière. 608 Annexe Notions élémentaires sur les synthétiseurs À Berlin, durant les années 1930, Friedrich Trautwein et Oskar Sala ont travaillé sur le Trautonium, un instrument dont l’on jouait en appuyant un fil d’acier sur une barre. Suivant les préférences du joueur, il offrait une variété infinie de tonalités (comme un instrument à cordes sans frette) ou des tonalités progressives similaires à celles d’un instrument à clavier. Sala a continué sesrecherchestout au long de sa vie, avec en apogée la création de son Mixturtrautonium à deux voix, en 1952. Il a signé avec cet instrument la bande-son de nombreux films documentaires, ainsi que la bande originale entière du chef d’œuvre d’Alfred Hitchcock « Les oiseaux ». Bien que ce film ne dispose pas d’une bande originale musicale conventionnelle, tousles cris d’oiseau et lessons de battements d’ailes du film ont été générés avec le Mixturtrautonium. Au Canada, Hugh Le Caine a commencé la mise au point de son Electronic Sackbut en 1945. La conception de cet instrument monophonique ressemblait à celle d’un synthétiseur, avec toutefois un clavier extrêmement expressif, qui répondait non seulement à la pression et à la vélocité des touches, mais également au mouvement latéral. Les instruments présentés ci-dessus étaient tous conçus pour être joués en temps réel. Assez tôt, cependant, des musiciens ont cherché à mettre au point desinstruments alliant des générateurs de sons électroniques à des séquenceurs. Le premier instrument de ce type a été présenté en 1929 par le duo français formé par Édouard Coupleux et Joseph Givelet, avec un instrument nommé « Automatically Operating Musical Instrument of the Electric Oscillation Type » (instrument musical automatique à oscillation électrique). Cet hybride alliait une génération sonore électronique à une commande mécanique à bande perforée. Son nom pompeux et compliqué a vite été raccourci et remplacé par celui d’« orgue Givelet-Coupleux » et l’on a parlé pour la première fois de synthétiseur. Le terme a été officialisé en 1956 avec les débuts du synthétiseur électronique RCA Mark I, mis au point par les ingénieurs américains Harry F. Olson et Herbert Belar. Son système de génération sonore à double voix se composait de 12 diapasons, stimulés électromagnétiquement. Pour l’époque, cet instrument offrait des options de traitement du signal relativement sophistiquées. Le signal de sortie du générateur sonore pouvait être contrôlé par des haut-parleurs et, de manière incroyable, enregistré sur deux disques! Un moteur unique alimentait les deux plateaux tournants et l’unité de commande du Mark 1. Le synthétiseur était contrôlé via les informations perforées sur la bande papier en rouleau, qui permettait une automation en continu de la hauteur tonale, du volume, du timbre et des enveloppes. Le système était aussi complexe qu’il y paraît, complexité qui rendait toute utilisation pratique utopique et toute spontanéité impossible. Premiers synthétiseurs commandés en tension À l’exception du Telharmonium, qui a été conçu avant l’invention de la valve thermionique, ces précurseurs dessynthétiseurs modernes étaient tous baséssur des circuitstubulaires. Ceci avait pour conséquence desinstruments encombrants et instables. Aprèsl’invention du transistor en 1947/48, il s’est passé peu de temps avant que des instruments plus robustes et plus compacts, donc plus portables, soient créés. Annexe Notions élémentaires sur les synthétiseurs 609 Fin 1963, l’innovateur américain R. A. (Bob) Moog rencontre le compositeur Herbert Deutsch, qui inspire Moog et l’incite à combiner un oscillateur commandé en tension et un module amplificateur à un clavier, en 1964. Il s’agit du premier prototype de synthétiseur commandé en tension . Cette collaboration avec le musicien allemand a également incité Moog à étendre sa gamme de modules et à les combiner pour créer des systèmes complets. Ce n’est toutefois pas avant 1967 que Moog appelle ce type de système combiné un synthétiseur. Ces réalisations se font connaître de bouche à oreille et Moog, toujours intéressé par l’opinion de ses clients, continue à ajouter des modules à sa gamme. Cependant, les instruments de Moog connaissent une vraie apogée avec la sortie du 33 tours « Switched-On Bach » de Wendy Carlos (1968). En effet, des synthétiseurs modulaires de Moog étaient enregistrés sur ce disque et il s’agissait, en outre, de l’un des premiers enregistrements commerciaux multipiste. Le succès de l’album fait connaître le synthétiseur au grand public et le nom Moog devientsynonyme de cet instrument. Espérant tirer parti de ces nouveaux sons et répéter le succès commercial de Wendy Carlos, de nombreux studios, producteurs et musiciens achètent alors des synthétiseurs modulaires Moog. En 1969, Moog employait près de 42 personnes et fabriquait deux ou trois systèmes modulaires complets par semaine sur son site de production. En parallèle, un ingénieur nommé Donald Buchla conçoit et met en œuvre le concept d’un synthétiseur modulaire commandé en tension. Celui-ci coïncide avec la version de Moog. Buchla crée également ses premiers instruments en étroite collaboration avec les utilisateurs. Pour la création de son premier synthétiseur, il s’inspire des compositeurs Morton Subotnik et Ramon Sender, du Tape Music Center de San Francisco. Bien qu’ayant commencé à travailler sur cet instrument en 1963, il ne rend publique sa découverte qu’en 1966. Par conception, les instruments de Buchla s’adressent principalement aux musiciens académiques et d’avant-garde ; ils n’ont donc jamais rencontré le succès et la reconnaissance publique des synthétiseurs Moog. Modèles compacts et bon marché Ces premiers synthétiseurs commandés en tension étaient modulaires ; un ou plusieurs châssis renfermait donc l’alimentation électrique et les modules. Les entrées et sorties des modules devaient être interconnectées par le biais d’un ensemble confus et complexe de câbles de raccordement pour que le synthétiseur puisse produire un son. Réaliser ces connexions correctement étaient un art en soi et le réglage des différents modules exigeait une expertise non négligeable. Moog a réalisé que ces synthétiseurs modulaires étaient trop complexes et trop onéreux pour le musicien moyen et étaient voués à l’échec commercial s’ils étaient vendus par le biais des détaillants d’instruments de musique traditionnels. En 1969, Moog collabore avec les ingénieurs Jim Scott, Bill Hemsath et Chad Hunt pour concevoir un synthétiseur compact, portable, abordable et facile à utiliser. Aprèsla mise au point de trois prototypes, le Minimoog Model D voit le jour en 1970. 610 Annexe Notions élémentaires sur les synthétiseurs Contrairement aux synthétiseurs modulaires précédents, il n’était pas nécessaire (ou possible) pour les utilisateurs de raccorder les modules à leur convenance,sur le Minimoog. En effet, les circuits de connexion des modules étaient mis en place de manière permanente en usine. Le type et le nombre de modules étaient également fixes. Ceci simplifiait grandement le processus de fabrication et avait permis de réduire nettement les coûts. Après une campagne marketing d’envergure, le lancement commercial du Minimoog a été un énorme succès. Sans modification de sa conception de base, 13 000 Minimoogs ont été vendus dans le monde jusqu’en 1981. Stockage et polyphonie Toutefois, les clients n’étaient encore pas totalement satisfaits. Bien que les musiciens n’aient plus à se débattre avec une multitude de câbles pour jouer du synthétiseur, ils devaient encore gérer de nombreux commutateurs et autres potentiomètres avant de pouvoir faire la moindre opération, même aussisimple que de passer d’un son à un autre. En outre, les claviéristes commençaient à s’ennuyer, à ne jouer que des mélodies monophoniques sur leurs synthétiseurs ; ils voulaient jouer des accords. Il existait bien dès 1970 des claviers double voix, composés de deux synthétiseurs monophoniques raccordés entre eux, mais les utilisateurs en voulaient davantage. Pour tenter de répondre à cette demande, deux écoles de pensée ont émergé dans la conception de synthétiseurs. La première approche consistait à associer dessynthétiseurs monophoniques indépendants à chaque touche du clavier. À cette fin, les concepteurs ont allié les principes des orgues électroniques à la technologie des synthétiseurs. Bien que l’instrument ainsi obtenu ait été totalement polyphonique (toutesles notes du clavier pouvaient être entenduessimultanément), il n’était pas aussi polyvalent qu’un synthétiseur traditionnel en matière d’options de contrôle. Le premier synthétiseur réellement polyphonique de cette conception était le Moog Polymoog, commercialisé en 1975. Mis au point principalement par David Luce, il était doté de 71 touches lestées sensibles à la vélocité. Dans la seconde approche à la génération de son polyphonique, un synthétiseur était affecté à une touche uniquement lorsque cette touche était enfoncée ; il s’agissait en réalité d’une semi-polyphonie. Dès 1973, la société américaine E-MU Systems a ainsi présenté son Modular Keyboard System Series 4050, un clavier numérique pouvant être connecté à dix synthétiseurs monophoniques au maximum, et donc offrir une polyphonie à dix voix. Les problèmes de cette approche étaient évidents : peu de personnes disposaient de dix synthétiseurs et le temps et les efforts nécessaires pour programmer les réglages afin d’obtenir un son nouveau étaient vraiment dissuasifs. La mémoire numérique n’existait pas encore et, une fois encore, l’évolution des synthétiseurs semi-polyphoniques exigeait des qualités que seuls les claviers numériques pouvaient offrir. Annexe Notions élémentaires sur les synthétiseurs 611 Ces mêmes qualités (technologies numériques) seraient nécessaires pour permettre aux synthétiseurs de stocker des sons. Sans l’aide de la technologie numérique, les premières tentatives de stockage de sons étaient plutôt complexes et encombrantes. Par exemple, un synthétiseur doté de fonctions de programmation analogiques exigeait une ligne spécifique contenant tous les éléments de contrôle de l’instrument, pour chaque emplacement mémoire ! Dans ce cas, un sélecteur permettait d’accéder à l’un des nombreux panneaux de commande identiques et le raccordait au générateur sonore. Le premier synthétiseur à disposer de ce type d’emplacements de stockage était le GX1, commercialisé par Yamaha en 1975. Les éléments de contrôle des emplacements de stockage du système étaient si petits qu’il fallait utiliser des tournevis de joaillier et des outils complexes (programmeurs et comparateurs) pour les régler. Ce n’est qu’en 1978 que le problème a été résolu de manière satisfaisante. Le synthétiseur polyphonique à cinq voix Prophet-5, commercialisé par la société américaine Sequential Circuits, était le premiersynthétiseur au monde à proposer un système de stockage global. Touslesréglages de ses cinq synthétiseurs monophoniquesintégrés étaientstockés dans des emplacements mémoire, 40 pour le premier modèle. En outre, ces cinq synthétiseurs partageaient une interface utilisateur unique, ce qui simplifiait grandement l’utilisation du système. Malgré un prix initial exorbitant, cet instrument s’est avéré extrêmement populaire et environ 8 000 exemplaires ont été fabriqués, jusqu’en 1985. Outre la polyphonie et la mémoire intégrées en numérique, le succès du Prophet-5 est dû à la qualité exceptionnelle de son système de génération sonore analogique. Synthétiseurs numériques Lessynthétiseurs numériques modernes, dotés d’une polyphonie variable, d’une mémoire et de systèmes de génération sonore entièrement numériques, observent pourtant encore l’approche semi-polyphonique. Le nombre de voix que ces instruments sont capables de générer, cependant, ne dépend plus du nombre de synthétiseurs monophoniquesintégrés. Aujourd’hui, la polyphonie dépend entièrement des capacités de performances des ordinateurs qui les alimentent. Les avancéesincroyables du monde numérique sont parfaitement illustrées dansl’exemple suivant. Le premier programme capable d’émuler une génération sonore en se reposant entièrement sur un ordinateur était Music I, créé par le programmeur américain Max Mathew. Inventé en 1957, il fonctionnait sur un ordinateur central universitaire, un IBM 704 au prix exorbitant. Ce programme, plutôt quelconque, avait pour seul avantage qu’il permettait de calculer une onde triangulaire, pas en temps réel malgré tout. 612 Annexe Notions élémentaires sur les synthétiseurs Ces médiocres performances de traitement en temps réel étaient la raison pour laquelle les premièrestechnologies numériques étaient utilisées uniquement à desfins de contrôle (et de stockage) sur les synthétiseurs grand public. Les circuits de commande numérique ont commencé à apparaître en 1971, sous la forme du séquenceur numérique intégré au synthétiseur modulaire Synthi 100 de la société britannique EMS ; synthétiseur par ailleurs similaire en tous points à un modèle analogique. Son prix élevé l’ayant éloigné du grand public, le séquenceur du Synthi 100 n’a été fabriqué qu’à 256 exemplaires. Les performances croissantes des processeurs ont par la suite rendu possible l’intégration de la technologie numérique à certains éléments du moteur de génération sonore lui-même. Le synthétiseur monophonique Harmonic Synthesizer, fabriqué par la société Rocky Mountain Instruments (RMI), a été le premier instrument à le faire. Ce synthétiseur disposait en effet de deux oscillateurs numériques, combinés à des circuits d’amplificateur et des filtres analogiques. Le Synclavier, créé en 1976 par la New England Digital Corporation (NED), a été le premier synthétiseur à utiliser une génération sonore entièrement numérique. Les instruments tels que le Synclavier étaient basés sur des processeurs spécialisés, qui devaient être mis au point par les fabricants eux-mêmes. Ce coût supplémentaire en matière de développement, répercuté sur le prix du Synclavier, en a fait un investissement que peu de personnes pouvaient se permettre. Une solution alternative consistait à utiliser des processeurs génériques, fabriqués par une société tierce. Ces processeurs, conçus spécialement pour les opérations de multiplication et d’accumulation (courantes dans les tâches de traitement audio) sont appelés processeurs de signal numérique (DSP). Le DPM-3 de Peavey, commercialisé en 1990, était le premier synthétiseur grand public entièrement basé sur un processeur DSP standard. Cet instrument polyphonique à 16 notes fonctionnait sur la base de trois DSP Motorola 56001. Il était également équipé d’un séquenceur intégré et appliquait le principale de la synthèse soustractive, sur des échantillons prédéfinis en usine et définissables par l’utilisateur. Une autre solution consistait à concevoir des synthétiseurs sous forme de périphériques informatiques, plutôt qu’en unité autonome. La popularité croissante des PC, dèsle début des années 1980, a rendu cette option commercialement viable. Passport Soundchaser et Syntauri alphaSyntauri sont deux exemples de ce concept. Ces deux systèmes étaient composés d’une carte processeur, à laquelle était associé un clavier musical standard. La carte processeur était insérée dans un ordinateur Apple II. Les synthétiseurs étaient programmés via le moniteur et le clavier Apple. Ces systèmes étaient polyphoniques et disposaient de séquenceurs, d’enveloppes et de formes d’onde programmables. Les cartes son d’aujourd’hui, devenues très courantes depuis 1989, suivent également ce concept. Annexe Notions élémentaires sur les synthétiseurs 613 Exploitant la puissance de traitement toujours croissante des ordinateurs actuels, le synthétiseur logiciel, qui s’exécute comme une application sur un ordinateur hôte, constitue l’étape suivante de l’évolution des synthétiseurs. La carte son intégrée est aujourd’hui requise uniquement pour l’entrée et la sortie audio. Les processus réels de génération sonore, de traitement des effets, d’enregistrement et de séquençage sont exécutés par l’unité centrale de votre ordinateur, grâce au logiciel MainStage et à sa collection d’instruments. 614 Annexe Notions élémentaires sur les synthétiseurs Guide du programme Printemps 2021 Guide du programme Développer en Swift | Printemps 2021 2 Développer en Swift Développer en Swift est une solution d’apprentissage du code destinée aux élèves à partir de la troisième. Le programme prépare les élèves à l’université ou à une carrière dans le développement d’apps à l’aide du langage de programmation Swift. Il est complété par une formation professionnelle en ligne gratuite pour le corps enseignant. Swift est conçu pour Mac, qui prend en charge les principaux langages de programmation, ce qui en fait un outil idéal pour l’enseignement et l’apprentissage du code. Lorsque les élèves passeront de Développer en Swift – Explorations ou Develop in Swift AP® CS Principles aux concepts plus avancés de Develop in Swift Fundamentals et Develop in Swift Data Collections, ils s’entraîneront à concevoir et à développer une app entièrement fonctionnelle tout droit sortie de leur imagination. Ils peuvent même obtenir des crédits AP® ou une certification reconnue par le secteur. Et pour la programmation en dehors de l'école, le manuel de conception d’app, le guide du Forum des jeunes créateurs d’apps et le club de programmation Swift aident les élèves à concevoir, à tester et à présenter leurs idées d'apps. Guide du programme Développer en Swift | Printemps 2021 3 Déroulé du programme pédagogique pour le lycée Explorations ou AP® CS Principles 180 heures Fundamentals 180 heures Data Collections 180 heures Les élèves découvrent les concepts informatiques essentiels qui leur serviront de base pour programmer en Swift. L’exploration du développement pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Le cours AP® CS Principles approfondit le cours Develop in Swift Explorations afin de préparer les élèves à l’examen AP® Computer Science Principles. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs en Swift, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Unité 1 : Valeurs Épisode 1 : Le club TV Unité 2 : Algorithmes Épisode 2 : Le soir de la diffusion Unité 3 : Organisation des données Épisode 3 : Partage de photos Unité 4 : Développement d’apps Unité 1 : Découverte du développement d’apps Unité 2 : Présentation de UIKit Unité 3 : Navigation et flux opérationnels Unité 4 : Création d’une app Unité 1 : Tableaux et persistance Unité 2 : Utilisation du Web Unité 3 : Affichage de données avancé Unité 4 : Création d’une app Guide du programme Développer en Swift | Printemps 2021 4 Déroulé du programme pédagogique pour l’enseignement supérieur Explorations Un semestre Fundamentals Un semestre Data Collections Un semestre Les élèves découvrent les concepts informatiques essentiels qui leur serviront de base pour programmer en Swift. L’exploration du développement d’apps pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs en Swift, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Unité 1 : Valeurs Épisode 1 : Le club TV Unité 2 : Algorithmes Épisode 2 : Le soir de la diffusion Unité 3 : Organisation des données Épisode 3 : Partage de photos Unité 4 : Développement d’apps Unité 1 : Découverte du développement d’apps Unité 2 : Présentation de UIKit Unité 3 : Navigation et flux opérationnels Unité 4 : Création d’une app Unité 1 : Tableaux et persistance Unité 2 : Utilisation du Web Unité 3 : Affichage de données avancé Unité 4 : Création d’une app Guide du programme Développer en Swift | Printemps 2021 5 * Disponibles uniquement dans les cours Développer en Swift AP® CS Principles et Développer en Swift - Explorations. Principales caractéristiques Playgrounds Xcode Les élèves apprennent des concepts de programmation en écrivant du code au sein de playgrounds, des environnements interactifs qui leur permettent de tester leur code et de visualiser instantanément les résultats. Projets d’apps guidés À l’aide des fichiers de projets fournis, les élèves peuvent travailler sur des concepts clés sans avoir à concevoir une app de A à Z. Ils appliquent leurs connaissances en manipulant les images et vidéos associées à chaque projet. Instructions détaillées Des instructions détaillées assorties d’images et de vidéos guident les élèves tout au long des étapes de création d’une app dans Xcode. Épisodes Un monde connecté* Les épisodes illustrés Un monde connecté permettent aux élèves de découvrir les activités et les outils du quotidien, de la recherche sur le Web et de la photographie jusqu’aux interactions sur les médias sociaux, tout en explorant la technologie sous-jacente et leur impact sur la société. Guide du programme Développer en Swift | Printemps 2021 6 Unité 1 : Valeurs. Les élèves étudient les valeurs et leurs différentes formes, dont le texte et les nombres, des unités fondamentales du langage Swift qu’ils emploieront dans tout leur code. Ils apprennent à associer des noms et des valeurs à l’aide des variables. L’unité se termine par la conception d’un projet d’app permettant d’afficher une photo. Épisode 1 : Le club TV. Les élèves suivent l’histoire des membres d’un club TV qui se préparent à regarder la nouvelle saison de leur série préférée. Ils découvrent les liens qui existent entre les recherches sur le Web, la création de comptes en ligne et leurs données personnelles, et sont amenés à réfléchir à la confidentialité dans le cadre de l’utilisation des apps. Unité 2 : Algorithmes. Les élèves apprennent à encapsuler les tâches répétitives à l’aide de fonctions pour structurer leur code, découvrent comment représenter des décisions avec des instructions if/else, et étudient la façon dont les types permettent de distinguer différentes sortes de données en Swift. L’aboutissement du projet est une app QuestionBot qui répond aux questions saisies au clavier. Épisode 2 : Le soir de la diffusion. Dans cette suite de l’histoire du club TV, les membres regardent le premier épisode de la série en streaming tout en s’échangeant des SMS. Les élèves découvrent comment les données sont représentées au plus bas niveau à l’intérieur des appareils, et comment elles circulent sur Internet. Ils approfondissent également les thèmes de la sécurité et de la confidentialité des données. Unité 3 : Organisation des données. Les élèves découvrent comment créer des types personnalisés à l’aide de structures, regrouper de grandes quantités d’éléments au sein de tableaux et les traiter à l’aide de boucles. Ils apprennent également à représenter un ensemble de valeurs connexes avec les énumérations, avant de créer une app de jeu interactif avec des formes colorées dans le projet final de l’unité. Épisode 3 : Partage de photos. Dans ce dernier épisode de l’histoire du club TV, les membres partagent sur les médias sociaux les photos prises le soir de la diffusion. Les élèves étudient la numérisation des données analogiques et les calculs parallèles, ainsi que certaines conséquences du partage des données en ligne. Unité 4 : Développement d’apps. Les élèves approfondissent leurs connaissances de Xcode et d’Interface Builder au travers de projets guidés de création d’apps de A à Z. Ils découvrent comment ajouter des éléments d’interface à un écran, les relier au code et répondre aux évènements générés par les interactions de l’utilisateur ou de l’utilisatrice. Ils mettent en œuvre le processus de développement incrémentiel pour créer leurs apps par étapes, en testant systématiquement chaque partie. L’aboutissement de l’unité est une app éducative comprenant un mode flashcards et un mode quiz. Le programme pédagogique d'Apple consacré au développement d’apps débute par les guides Développer en Swift – Explorations et AP CS Principles pour aider les élèves à apprendre les concepts informatiques essentiels et à acquérir des bases solides de programmation en Swift. L’exploration du développement pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Les leçons les guident dans le processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Même si les élèves devront approfondir leurs compétences pour convertir les prototypes en apps pleinement fonctionnelles, la conception d’une app est une compétence essentielle qui les encourage à apprendre à coder. Dans le cadre de son partenariat avec le College Board pour l’année scolaire 2021–2022, Apple a adapté le cours Explorations pour créer AP® CS Principles, dont le contenu vise à préparer les élèves à l’examen AP® Computer Science Principles. Télécharger : apple.co/developinswiftexplorations Télécharger : apple.co/developinswiftapcsp Développer en Swift – Explorations et AP® CS Principles Guide du programme Développer en Swift | Printemps 2021 7 Unité 1 : Découverte du développement d’apps. Les élèves découvrent les notions de base sur les données, les opérateurs et le flux de contrôle en Swift, ainsi que la documentation, le débogage, Xcode, la création et l’exécution d’une app, et Interface Builder. Ils appliquent ensuite ces connaissances dans un projet guidé intitulé Light, dont l’objectif est de créer une app de lampe torche simple. Unité 2 : Présentation de UIKit. Les élèves explorent les chaînes, les fonctions, les structures, les collections et les boucles en Swift. Ils découvrent également UIKit, c’est-à-dire les vues et commandes système constituant une interface utilisateur, et les méthodes d’affichage des données à l’aide de la fonctionnalité de mise en page automatique et des vues en pile. Ils mettent en pratique ces connaissances dans un projet guidé intitulé Apple Pie, dans lequel ils conçoivent une app de jeu consistant à faire deviner des mots. Unité 3 : Navigation et flux opérationnels. Les élèves découvrent comment concevoir des flux opérationnels simples et des hiérarchies de navigation à l’aide de contrôleurs de navigation, de contrôleurs de barre d’onglets et de « segues ». Ils examinent également deux outils puissants en Swift : les optionnels et les énumérations. Ils mettent en pratique ces connaissances dans un projet guidé intitulé Personality Quiz, un questionnaire personnalisé qui affiche une réponse humoristique. Unité 4 : Création d’une app. Les élèves étudient le cycle de conception d’une app et le mettent en œuvre pour créer leur propre app. Ils explorent les méthodes de développement et d’itération sur leurs concepts, avant de créer un prototype pouvant servir de démonstration convaincante et aboutir à une version 1.0 réussie. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs professionnels, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Trois projets d’apps guidés aident les élèves à programmer une app en Xcode de A à Z grâce à des instructions pas à pas. Les playgrounds Xcode leur permettent d'apprendre les concepts de programmation essentiels dans un environnement interactif afin de tester leur code et de visualiser instantanément les résultats. Les élèves découvriront la conception d'apps à travers la réalisation du processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Télécharger : apple.co/developinswiftfundamentals Développer en Swift – Fundamentals Guide du programme Développer en Swift | Printemps 2021 8 Unité 1 : Tableaux et persistance. Les élèves apprennent à réaliser les vues défilantes, les vues en tableau et la conception d’écrans de saisie complexes. Ils découvrent également comment enregistrer des données, partager des données avec d’autres apps et exploiter les images de la photothèque d’un appareil. Ils mettent en œuvre leurs nouvelles compétences dans un projet guidé intitulé List. Cette app de suivi de tâches permet d’ajouter, de modifier et de supprimer des éléments au sein d’une interface basée sur des tableaux, couramment utilisée dans de nombreuses apps. Unité 2 : Utilisation du Web. Les élèves étudient les animations, la concurrence et l’utilisation des ressources du Web. Un projet d’application de leurs connaissances, intitulé Restaurant, les met au défi de créer une app de menu personnalisable qui affiche les plats disponibles à la carte d’un restaurant et permet de passer une commande. L’app est basée sur un service Web qui permet aux élèves de créer un menu à partir de leurs propres intitulés de plats et photos. Unité 3 : Affichage de données avancé. Les élèves apprennent à présenter des données au sein d’une disposition à deux dimensions hautement personnalisable, à l’aide de vues de collection. Ils découvrent également la puissance des éléments Swift génériques et mobilisent toutes leurs compétences pour créer une app qui gère un ensemble de données complexe et présente une interface personnalisable. Unité 4 : Création d’une app. Les élèves étudient le cycle de conception d’une app et le mettent en œuvre pour créer leur propre app. Ils explorent les méthodes de développement et d’itération sur leurs concepts, avant de créer un prototype pouvant servir de démonstration convaincante et aboutir à une version 1.0 réussie. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals, en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Trois projets d'apps guidés aident les élèves à programmer une app en Xcode de A à Z grâce à des instructions pas à pas. Les playgrounds Xcode leur permettent d'apprendre les concepts de programmation essentiels dans un environnement interactif afin de tester leur code et de visualiser instantanément les résultats. Les élèves découvriront la conception d'apps à travers la réalisation du processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Télécharger : apple.co/developinswiftdatacollections Développer en Swift – Data Collections Guide du programme Développer en Swift | Printemps 2021 9 Formation professionnelle en ligne gratuite adaptée au rythme de chacun Le cours Développer en Swift – Explorations et Développer en Swift AP® CS Principles est disponible sur la plateforme Canvas d’Instructure. Assuré par des experts Apple, ce cours permet aux participants et participantes d’acquérir les connaissances fondamentales nécessaires à l’enseignement de Swift et de Xcode. C’est l’introduction idéale à l’enseignement du programme Développer en Swift dans tous les environnements pédagogiques. En savoir plus sur apple.co/developinswiftexplorationspl. Inviter un Apple Professional Learning Specialist dans votre école Pour celles et ceux qui souhaitent aller plus loin, les Apple Professional Learning Specialists organisent des formations sur plusieurs jours. Ces expériences d’apprentissage immersives et pratiques ont pour but d’aider le personnel enseignant à développer des méthodes pédagogiques innovantes impliquant les élèves. Pour en savoir plus sur l'offre Apple Professional Learning, contactez votre Apple Authorised Education Specialist. Enseigner le codage avec Apple L’enseignement de la programmation ne se limite pas à l’apprentissage du code. C’est aussi l’occasion de développer de nouvelles façons de réfléchir et de donner vie à ses idées. Apple dispose de ressources gratuites pour vous aider à inclure la programmation dans vos cours, que vous souhaitiez initier vos élèves à Swift ou finaliser leur préparation à la certification de développement avec Swift. Le programme Le code à la portée de tous présente le codage aux élèves grâce à un univers mêlant puzzles interactifs et personnages amusants disponible dans l'app Swift Playgrounds. Le programme Développer en Swift permet aux élèves de faire leurs premiers pas dans l’univers du développement d’apps en leur facilitant la conception et le développement d'une app entièrement fonctionnelle tout droit sortie de leur imagination. Apple soutient le personnel enseignant en proposant des offres de formation professionnelle pour vous aider à faire découvrir les offres Le code à la portée de tous et Développer en Swift aux élèves. Guide du programme Développer en Swift | Avril 2021 10 WITH SWIFT Associate Développement d’apps avec Swift (Associate) Les élèves de lycée ou les étudiants et étudiantes qui réussissent l’examen de certification Développement d’apps avec Swift (Associate) mesurent l’impact de l’informatique et des apps sur la société, l’économie et les cultures grâce à l’exploration du développement d’apps pour iOS. Cette certification est alignée sur le contenu du cours Développer en Swift – Explorations. Développement d’apps avec Swift (Certified User) En réussissant l’examen Développement d’apps avec Swift (Certified User), les élèves démontrent l’acquisition de compétences fondamentales en développement d’apps pour iOS en Swift. Ils maîtrisent les principaux concepts et techniques utilisés au quotidien par les professionnels pour programmer en Swift. Cette certification est alignée sur le contenu du cours Développer en Swift - Fundamentals. Certifications Développement d’apps avec Swift L’enseignement du développement d’apps avec Swift permet aux élèves de se préparer à une carrière dans le marché des apps, en obtenant une certification reconnue dans le milieu professionnel. Les certifications Développement d’apps avec Swift attestent la maîtrise des connaissances fondamentales de Swift, de Xcode et des outils de développement d’apps, abordées dans les cours gratuits Développer en Swift – Explorations et Développer en Swift - Fundamentals. La réussite à l’examen Développement d’apps avec Swift permet d’obtenir un badge numérique que les élèves peuvent intégrer à leur curriculum vitae, à leur book ou à leurs emails, ou partager sur les réseaux professionnels et sociaux. Pour en savoir plus : certiport.com/apple WITH SWIFT Certified User Guide du programme Développer en Swift | Avril 2021 11 Ressources supplémentaires Manuel de conception d’app Le manuel de conception d’app s’appuie sur l’étude du processus de conception pour enseigner aux élèves la conception d'apps, essentielle au développement des apps pour iOS. Les élèves réfléchissent à la relation entre le processus créatif et la programmation en Swift aux différents stades du cycle de développement afin de donner vie à leurs projets d’app. Télécharger : apple.co/developinswiftappdesignworkbook Guide du Forum des jeunes créateurs d’apps Célébrez l’ingéniosité des élèves en les encourageant à partager leurs créations à l’occasion d’évènements locaux, tels que des démonstrations ou des forums de présentation d’apps. Le Guide du Forum des jeunes créateurs d’apps fournit des informations pratiques qui vous aideront à organiser et à animer un évènement de présentation virtuel ou en présentiel. Télécharger : apple.co/developinswiftappshowcaseguide Club de programmation Swift Les clubs de programmation Swift offrent une approche ludique de la conception d’apps. Les activités sont axées sur l’apprentissage de concepts de programmation en Swift dans les playgrounds Xcode sur Mac. Les élèves travaillent en groupes pour créer des prototypes d’apps et réfléchissent à l’impact que la programmation peut avoir sur le monde qui les entoure. Télécharger : apple.co/swiftcodingclubxcode Guide du programme Développer en Swift | Avril 2021 12 AP est une marque déposée du College Board, utilisée avec son autorisation. Les fonctionnalités sont sujettes à modification. La disponibilité des fonctionnalités peut varier en fonction des zones géographiques et des langues. © 2021 Apple Inc. Tous droits réservés. Apple, le logo Apple, Mac, MacBook Air, Swift, le logo Swift, Swift Playgrounds et Xcode sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. App Store est une marque de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays. IOS est une marque ou une marque déposée de Cisco aux États-Unis et dans d’autres pays, utilisée ici sous licence. Les autres noms de produits et de sociétés mentionnés dans ce document appartiennent à leurs propriétaires respectifs. Les caractéristiques des produits sont susceptibles d’être modifiées sans préavis. Les informations contenues dans ce document sont fournies à titre indicatif uniquement ; Apple n’assume aucune responsabilité quant à leur utilisation. Avril 2021 Guide de démarrage Apple Business Manager Présentation Présentation Apple Business Manager est un portail web destiné aux administrateurs informatiques qui permet de déployer l’iPhone, l’iPad, l’iPod touch, l’Apple TV et le Mac depuis un même endroit. Apple Business Manager fonctionne en parfaite synergie avec votre solution de gestion des appareils mobiles (Mobile Device Management, MDM) et simplifie le déploiement automatisé des appareils, l’achat d’apps et la distribution de contenus, ainsi que la création d’identifiants Apple gérés pour les employés. Le Programme d’inscription des appareils (Device Enrolment Program, DEP) et le Programme d’achat en volume (Volume Purchase Program, VPP) sont désormais entièrement intégrés à Apple Business Manager. Les organisations disposent donc de tout ce dont elles ont besoin pour déployer des appareils Apple. La disponibilité de ces programmes prendra fin au 1er décembre 2019. Appareils Apple Business Manager offre plusieurs avantages aux organisations, notamment l’inscription automatisée des appareils, le déploiement simple et rapide des appareils Apple appartenant à l’entreprise et l’inscription à la solution MDM sans intervention sur les appareils ni préparation de ceux-ci. • Simplifiez les étapes de l’Assistant réglages pour optimiser le processus de configuration et vous assurer que les appareils des employés sont correctement configurés dès leur activation. Les équipes informatiques peuvent maintenant personnaliser davantage ce processus en proposant aux utilisateurs un texte de consentement, une image de marque personnalisée ou encore une méthode d’authentification moderne. • Augmentez le niveau de contrôle des appareils appartenant à l’organisation grâce à la supervision, qui propose des commandes de gestion de l’appareil supplémentaires indisponibles avec les autres modèles de déploiement, y compris l’irrévocabilité de la solution MDM. • Gérez plus facilement les serveurs MDM par défaut en paramétrant un serveur par défaut en fonction du type d’appareil. Enfin, vous pouvez désormais inscrire manuellement des iPhone, iPad et Apple TV à l’aide d’Apple Configurator 2, quelle que soit la manière dont vous les avez acquis. Contenu Apple Business Manager permet aux organisations de se procurer plus facilement des contenus en volume. Que vos employés utilisent des iPhone, des iPad ou des Mac, vous pouvez leur fournir des contenus de qualité prêts à l’emploi avec des options de distribution souples et sécurisées. • Achetez des apps, des livres et des apps personnalisées en volume, y compris les apps que vous avez développées en interne. Transférez facilement des licences d’applications d’un site à l’autre et partagez les licences entre acheteurs situés au même endroit. Consultez une liste consolidée de l’historique des achats, avec notamment le nombre actuel de licences utilisées avec la MDM. Apple Business Manager Octobre 2019 2 Table des matières Présentation Premiers pas Configuration Ressources Présentation • Distribuez les apps et les livres directement aux appareils gérés ou aux utilisateurs autorisés et vérifiez facilement quel contenu a été attribué à quel utilisateur ou appareil. Grâce à la distribution gérée, vous contrôlez tout le processus de distribution tout en restant entièrement propriétaire des apps. Et si une app n’est plus utilisée par un appareil ou un utilisateur, elle peut être révoquée et réattribuée à un autre appareil ou utilisateur au sein de votre organisation. • Plusieurs options de paiement sont disponibles, notamment par carte bancaire ou sur bon de commande. Les organisations peuvent acheter du crédit VPP (dans les pays où cela est proposé) d’un montant spécifique en devise locale auprès d’Apple ou d’un revendeur agréé Apple. Ce montant est transféré de manière électronique directement au titulaire du compte sous forme d’avoir. • Distribuez une app aux appareils ou utilisateurs dans tous les pays où l’app est disponible, pour une distribution internationale. Les développeurs peuvent proposer leurs apps dans plusieurs pays via le processus standard de publication sur l’App Store. Remarque : les achats de livres dans Apple Business Manager ne sont pas disponibles dans tous les pays et régions. Pour connaître les fonctionnalités et méthodes d’achat disponibles, consultez https://support.apple.com/HT207305/ Personnes Apple Business Manager permet aux organisations de créer et de gérer des comptes pour les employés, en mesure de s’intégrer à l’infrastructure existante et d’accéder aux apps Apple, aux services Apple et à Apple Business Manager. • Créez des identifiants Apple gérés pour que les employés collaborent dans les apps et les services Apple, et accèdent aux données de l’entreprise dans les apps gérées utilisant iCloud Drive. Ces comptes sont détenus et gérés par chaque organisation. • Associez Apple Business Manager avec Microsoft Azure Active Directory pour tirer parti de l’authentification fédérée. Les identifiants Apple gérés seront automatiquement créés à chaque fois qu’un employé se connectera pour la première fois avec ses identifiants sur un appareil Apple compatible. • Avec la nouvelle fonctionnalité d’inscription des utilisateurs disponible sous iOS 13, iPadOS et macOS Catalina, les appareils appartenant aux utilisateurs peuvent simultanément accueillir un identifiant Apple géré et un identifiant Apple personnel. Un identifiant Apple géré peut aussi être utilisé sur n’importe quel appareil en tant qu’identifiant Apple principal (et unique). Et après une première connexion à un appareil Apple avec un identifiant Apple géré, l’utilisateur pourra s’en servir pour accéder à iCloud sur le Web. • Vous pouvez désigner des rôles spécifiques dans les équipes informatiques de votre entreprise afin de gérer plus efficacement les appareils, les apps et les comptes intégrés à Apple Business Manager. Le rôle Administrateur permet par exemple d’accepter des conditions générales d’utilisation si cela est nécessaire, et de facilement transférer des responsabilités si un employé quitte l’organisation. Remarque : pour le moment, l’inscription des utilisateurs ne prend pas en charge iCloud Drive. iCloud Drive est compatible avec les appareils utilisant un identifiant Apple géré, lorsqu’il s’agit de l’unique identifiant Apple. Apple Business Manager Octobre 2019 3 Premiers pas Premiers pas Inscription à Apple Business Manager L’inscription est simple et ne prend que quelques minutes, vous pouvez donc démarrer rapidement avec Apple Business Manager. Toute entreprise est habilitée à participer, selon les conditions générales du service. Apple se réserve le droit de déterminer les conditions de participation au programme pour chaque entreprise. Pour commencer, veuillez compléter le processus d’inscription et fournir des informations sur votre entreprise, notamment la raison sociale, le numéro de téléphone et un numéro D-U-N-S valide. Les numéros D-U-N-S sont attribués aux entreprises officielles par Dun & Bradstreet (D&B) et conservés dans sa base de données. Cliquez ici pour rechercher un numéro D-U-N-S existant ou en obtenir un nouveau. Apple vérifie l’identité des candidats au programme dans la base de données D&B. Si les informations fournies ne correspondent pas aux informations contenues dans la base de données D&B, Apple vous en informe pour que vous puissiez les vérifier et les corriger. Si vous estimez que les renseignements fournis sont corrects, contactez Dun & Bradstreet afin de vous assurer que leur base de données est à jour. Vous devrez fournir une adresse e-mail associée à votre entreprise. Les adresses e-mail pour particuliers provenant de services tels que Gmail ou Yahoo ne sont pas acceptées. Le compte associé à cette adresse e-mail deviendra administrateur initial pour Apple Business Manager et ne pourra être associé à un identifiant Apple existant ni à d’autres services Apple. Indiquez un contact de validation qui pourra confirmer l’identité de l’administrateur initial et vérifier qu’il ou elle dispose de l’autorité nécessaire pour accepter les conditions générales d’Apple Business Manager au nom de votre entreprise. L’administrateur devra également accepter les conditions générales et configurer d’autres administrateurs afin de gérer le service pour le compte de votre entreprise. Apple vérifiera les informations fournies dans le formulaire d’inscription au programme. Lors du processus d’examen, votre contact de validation et vous pourriez être amenés à répondre à d’autres questions par téléphone ou par e-mail avant que l’inscription ne soit confirmée. Assurez-vous que les filtres de messagerie autorisent les e-mails provenant de tous les domaines apple.com. Répondez rapidement aux appels et aux e-mails afin que le processus d’inscription puisse progresser rapidement. Lorsque votre entreprise aura été approuvée, le contact de validation recevra un e-mail lui demandant de confirmer l’identité de l’administrateur initial ou de déléguer l’administration à quelqu’un d’autre. Après confirmation, l’administrateur devra créer l’identifiant Apple géré de l’administrateur initial et accepter le contrat et toute condition générale supplémentaire d’Apple Business Manager. Apple Business Manager Octobre 2019 4 Premiers pas Mise à niveau vers Apple Business Manager Si votre organisation utilise encore les anciens programmes DEP ou VPP, elle devra effectuer la mise à niveau vers Apple Business Manager avant le 1er décembre 2019. Pour plus d’informations, veuillez consulter support.apple.com/HT208817. Si votre entreprise est déjà inscrite aux programmes de déploiement Apple, vous pouvez passer à Apple Business Manager en vous connectant sur deploy.apple.com à l’aide de votre compte de responsable des programmes de déploiement Apple puis en suivant les instructions à l’écran. La mise à niveau ne prend que quelques minutes. Après la mise à niveau, vos comptes, serveurs MDM, appareils, jetons de serveur, commandes d’appareils et autres éléments seront associés à votre compte Apple Business Manager. Votre entreprise possède peut-être un ou plusieurs comptes VPP distincts. Si certains de vos acheteurs du programme VPP n’ont pas été inclus lors du passage à Apple Business Manager, découvrez comment les inviter dans Apple Business Manager sur la page suivante : support.apple.com/HT208817. Après être passé à Apple Business Manager, vous n’aurez plus accès au site des programmes de déploiement Apple. Apple Business Manager Octobre 2019 5 Configuration Configuration Maintenant que votre entreprise est inscrite à Apple Business Manager, vous pouvez ajouter d’autres comptes, saisir les informations d’achat et attribuer des rôles pour commencer à gérer les appareils et les contenus. Créer des administrateurs supplémentaires et attribuer des rôles Lors de la première connexion, l’administrateur initial recevra un message lui indiquant qu’un seul compte administrateur existe. Pour créer d’autres comptes administrateur : 1. Cliquez sur Comptes dans la barre latérale. 2. Cliquez sur Ajouter un nouveau compte, en haut de la fenêtre. 3. Saisissez les informations requises, notamment le prénom et le nom, l’identifiant Apple géré, le rôle d’administrateur et le site auquel il est rattaché, et l’adresse e-mail. 4. Si besoin, saisissez le deuxième prénom, qui est facultatif. 5. Cliquez sur Enregistrer en bas à droite de la fenêtre. Chaque compte Apple Business Manager dispose d’un ou de plusieurs rôles, qui définissent ce que l’utilisateur du compte est en mesure de faire. Par exemple, un même compte peut se voir attribuer à la fois les rôles de Gestionnaire d’appareils et de Gestionnaire de contenu. De plus, certains rôles peuvent gérer d’autres rôles. Par exemple, un compte disposant du rôle Gestionnaire de personnes peut agir sur un compte disposant du rôle Gestionnaire de contenu. De cette manière, le Gestionnaire de personnes pourra également acheter des apps et des livres. Il peut être judicieux de planifier l’attribution des rôles et de passer en revue les types de rôles avant de créer les comptes et d’attribuer les privilèges. Configurer l’authentification fédérée Vous pouvez utiliser l’authentification fédérée pour lier Apple Business Manager à votre instance de Microsoft Azure Active Directory (AD). Cela permettra à vos utilisateurs de se servir de leurs noms d’utilisateur et mots de passe Microsoft Azure AD en tant qu’identifiants Apple gérés. Ils pourront ainsi utiliser leur compte Microsoft Azure AD pour se connecter à un appareil Apple compatible, ainsi qu’à iCloud sur le Web. Pour commencer : 1. Connectez-vous à Apple Business Manager avec un compte ayant un rôle d’Administrateur ou de Gestionnaire de personnes. 2. Sous Réglages, accédez à Comptes et cliquez sur Modifier dans la section Authentification fédérée, puis cliquez sur Connexion. 3. Sélectionnez « Sign in to Microsoft Azure » (Se connecter à Microsoft Azure) et connectez-vous avec un compte Microsoft Azure AD ayant un rôle d’administrateur général, d’administrateur d’application ou d’administrateur d’application cloud. Apple Business Manager Octobre 2019 6 Configuration 4. Saisissez le nom de domaine que vous souhaitez utiliser. Il est uniquement possible de fédérer des domaines qui n’ont pas été revendiqués par d’autres organisations. 5. Sélectionnez Ouverture de la connexion Microsoft, et saisissez les informations d’un compte d’administrateur général, d’administrateur d’application ou d’administrateur d’application cloud de Microsoft Azure AD qui existe dans le domaine spécifié à l’étape précédente. Lorsque vous configurez l’authentification fédérée, Apple Business Manager lance une vérification pour s’assurer que le nom de domaine que vous avez ajouté n’est pas déjà associé à des identifiants Apple existants. Si l’identifiant Apple associé au domaine que vous souhaitez utiliser est déjà pris, vous pouvez faire une demande de récupération du nom d’utilisateur de l’identifiant Apple auprès de l’utilisateur concerné pour vous en servir au sein de votre organisation. Pour plus d’informations, consultez l’article support.apple.com/HT209349. Si vous utilisez des identifiants Apple gérés, vous pouvez les migrer vers l’authentification fédérée en modifiant les informations pour que le nom de domaine fédéré et le nom d’utilisateur correspondent. Si le domaine que vous souhaitez utiliser est déjà associé à des identifiants Apple gérés appartenant à une autre organisation, Apple mènera une enquête pour déterminer le propriétaire du domaine et vous informera de sa conclusion. Si plusieurs organisations peuvent prétendre à la propriété du domaine, aucune d’entre elles ne pourra le fédérer. Lorsque vous aurez réussi à vous connecter à un compte d’administrateur et que le processus de détection de conflits de noms d’utilisateur sera achevé, vous pourrez activer l’authentification fédérée de la manière suivante : 1. Connectez-vous à Apple Business Manager avec un compte ayant un rôle d’Administrateur ou de Gestionnaire de personnes. 2. Sélectionnez Réglages en bas de la barre latérale, sélectionnez Comptes, puis cliquez sur Modifier dans la section Authentification fédérée. 3. Activez l’authentification fédérée pour les domaines ayant été ajoutés à Apple Business Manager. Pour plus d’informations sur la configuration de l’authentification fédérée avec Microsoft Azure AD, consultez le Guide de l’utilisateur d’Apple Business Manager à l’adresse support.apple.com/guide/apple-business-manager. Saisir les informations d’achat Pour utiliser l’inscription automatisée des appareils, vous devrez passer en revue et mettre à jour les informations concernant la façon dont vous achetez les appareils. Sélectionnez Device Management Settings (Réglages de gestion des appareils), puis ajoutez votre numéro de client Apple ou identifiant de revendeur. Si votre entreprise achète directement auprès d’Apple et auprès d’un revendeur agréé Apple ou opérateur participant, vous devez saisir à la fois votre numéro de client Apple et l’identifiant de revendeur de votre revendeur. Apple Business Manager Octobre 2019 7 Configuration • Numéro de client Apple. Si vous achetez du matériel ou des logiciels directement auprès d’Apple, votre entreprise possède un numéro de compte. Ce numéro de compte est nécessaire pour associer vos commandes et appareils éligibles à Apple Business Manager. Si vous ne connaissez pas ce numéro, contactez votre responsable des achats ou votre service financier. Votre entreprise a peut-être plusieurs numéros de client Apple, que vous pourrez ajouter à Apple Business Manager une fois que vous aurez reçu l’approbation. • Identifiant de l’organisation. Une fois inscrit au programme, vous recevrez un identifiant d’organisation, que vous trouverez dans la section Réglages d’Apple Business Manager. Si vous achetez des appareils Apple auprès d’un revendeur agréé Apple ou d’un opérateur participant, vous devrez lui fournir ce numéro afin d’associer vos achats à Apple Business Manager. • Identifiant de revendeur. Si vous achetez du matériel ou des logiciels directement auprès d’un revendeur agréé Apple ou d’un opérateur participant, vous devrez fournir l’identifiant de revendeur de votre revendeur. Si vous ne connaissez pas ce numéro, contactez votre revendeur. Si vous faites vos achats auprès de plusieurs revendeurs, saisissez l’identifiant de revendeur de chacun d’eux. Vous devez également fournir votre identifiant d’organisation à votre revendeur afin qu’il puisse soumettre vos achats d’appareils. Le fait de fournir l’identifiant de revendeur seul ne suffit pas à inscrire vos appareils dans Apple Business Manager. • Apps et livres. Pour pouvoir acheter des apps et des livres, rendez-vous dans la section Apps et livres sous Réglages. Suivez les étapes pour accepter les conditions des Apps et livres et mettre à jour les informations de facturation. Vous pouvez également consulter votre historique d’achats et transférer les achats d’un site à un autre dans les réglages Apps et livres. Gérer l’attribution des appareils Apple Business Manager intègre toutes les fonctionnalités existantes du programme DEP. De plus, les serveurs MDM peuvent désormais être définis par défaut en fonction du type d’appareil, ce qui vous permet de paramétrer un serveur par défaut pour les Mac et un autre pour les iPhone et iPad. Lier votre solution MDM. Pour lier votre solution MDM, allez dans Réglages > Device Management Settings (Réglages de gestion des appareils), puis établissez une connexion vers votre ou vos serveurs MDM. Les serveurs répertoriés dans Apple Business Manager sont liés à vos serveurs MDM physiques. Vous pouvez ajouter des serveurs à tout moment. Ajoutez un nouveau serveur MDM en fournissant son nom et les informations d’autorisation. Apple doit connaître chaque serveur autorisé à gérer vos appareils. L’autorisation sécurisée d’un serveur MDM s’effectue via un processus de validation en deux étapes. Votre fournisseur de solution MDM peut vous donner des informations sur les conditions requises pour mettre en œuvre ce processus. Attribuer des appareils. Vous pouvez attribuer des appareils à vos serveurs par numéro de commande ou numéro de série. Seuls les appareils éligibles pouvant être attribués à votre serveur MDM apparaissent sur le site web du programme. Apple Business Manager Octobre 2019 8 Configuration Vous pouvez rechercher les commandes que vous avez passées directement auprès d’Apple depuis le 1er mars 2011, par numéro de commande ou de série. Si vous avez passé commande auprès d’un revendeur agréé Apple ou d’un opérateur participant, la période de recherches rétrospectives dépendra du revendeur. Votre commande est disponible dans Apple Business Manager 24 heures après son envoi par le revendeur. Vous pouvez également télécharger un fichier CSV (comma-separated value) contenant la liste complète des appareils associés à une ou plusieurs commandes spécifiques. Dans le fichier CSV, les appareils sont répertoriés par numéro de série. En saisissant « All Available » dans le champ des commandes, vous verrez s’afficher une liste de tous les appareils. En désignant un serveur MDM comme serveur par défaut, vous pouvez automatiquement lui attribuer les appareils nouvellement achetés. Les appareils achetés auprès de fournisseurs autres qu’Apple, un revendeur agréé Apple ou un opérateur participant peuvent tout de même être ajoutés à Apple Business Manager via Apple Configurator 2. Comme tous les appareils inscrits, les appareils inscrits manuellement que vous configurez font obligatoirement l’objet d’une supervision et d’une inscription à une solution MDM. L’utilisateur dispose toutefois d’une période d’inscription provisoire de 30 jours pour retirer l’appareil de l’inscription, de la supervision et de la MDM. Pour plus d’informations sur la méthode à suivre pour inscrire des appareils manuellement, consultez la page suivante : support.apple.com/guide/appleconfigurator-2/cad99bc2a859. Remarque : d’après les conditions du contrat, les appareils vendus, perdus, renvoyés au revendeur ou autrement retirés du service doivent être définitivement supprimés de la liste des appareils gérés de votre entreprise à l’aide d’Apple Business Manager. Toutefois, lorsqu’un appareil est supprimé, il ne peut être rajouté, à moins d’être manuellement inscrit via Apple Configurator 2 pour les appareils compatibles. Vérifier les attributions. Une fois vos serveurs MDM configurés et vos appareils attribués, vous pouvez vérifier plusieurs aspects de l’attribution des appareils, notamment : • La date d’attribution • Le numéro de commande • Le nom du serveur MDM auquel l’appareil est attribué • Le nombre total d’appareils, organisé par type d’appareils Acheter des contenus Apple Business Manager permet de faire des achats de manière simplifiée. Vous pouvez rechercher des contenus, spécifier la quantité que vous souhaitez acheter et finaliser rapidement la transaction avec un Crédit VPP ou une carte bancaire professionnelle. Apple Business Manager Octobre 2019 9 Configuration Rechercher une app ou un livre. Pour préciser votre recherche, sélectionnez le type de média : apps iOS et iPadOS, apps Mac ou livres. Cliquez sur le menu déroulant Catégorie pour rechercher des apps et des livres par catégorie. Les apps universelles conçues à la fois pour l’iPhone et l’iPad sont signalées par une icône particulière. Indiquer la quantité. Une fois que vous avez trouvé le contenu qui vous intéresse, sélectionnez son nom dans la liste des résultats, vérifiez les informations associées, puis saisissez la quantité que vous souhaitez acheter. Distribuer et télécharger des contenus Grâce à la distribution gérée, utilisez votre solution MDM ou Apple Configurator 2 pour gérer la distribution des apps et des livres. Lier votre solution MDM. Afin d’utiliser la solution MDM pour la distribution, vous devez, dans un premier temps, lier votre solution MDM à un site dans Apple Business Manager à l’aide d’un jeton sécurisé. Pour télécharger votre jeton, accédez à Réglages > Apps et livres, puis sélectionnez le jeton approprié en fonction du site. Chargez ce jeton sur votre serveur MDM pour établir la connexion. Remarque : les jetons sécurisés expirent au bout d’un an. Si vous utilisez Apple Configurator 2 pour gérer les appareils et les contenus, il vous suffit de vous connecter au compte de Gestionnaire de contenu qui convient via le menu Comptes. Avec iOS 10 et macOS Sierra et les versions ultérieures, vous pouvez économiser du temps et de la bande passante en préchargeant les apps pour tous vos déploiements via cette méthode. Une fois connecté à votre serveur MDM, vous disposez de différents moyens d’attribuer aux appareils et aux utilisateurs des apps et des livres (y compris les apps récemment attribuées et les mises à jour d’apps), même lorsque l’App Store est désactivé. Attribuer des apps à des appareils. Si vous souhaitez que votre entreprise conserve un contrôle total sur les appareils et les contenus gérés, ou s’il est compliqué d’obtenir un identifiant Apple pour tous les utilisateurs, vous pouvez attribuer des apps à des appareils directement à l’aide de votre solution MDM ou d’Apple Configurator 2. Dès qu’une app est attribuée à un appareil, elle est envoyée en mode push vers celui-ci par le biais de la solution MDM ou ajoutée via Apple Configurator 2. Aucune invitation n’est requise. Tous les utilisateurs de l’appareil ont accès à l’app concernée. Pour que des apps puissent être attribuées à des appareils, chaque appareil doit disposer d’une licence de distribution gérée. Attribuer des apps et des livres aux utilisateurs. Utilisez votre solution MDM pour inviter les utilisateurs par e-mail ou par notification push. Pour accepter l’invitation, les utilisateurs se connectent sur leur appareil en utilisant leur identifiant Apple personnel. Bien que votre entreprise puisse attribuer des apps et des livres à l’identifiant Apple d’un utilisateur, l’identifiant Apple reste totalement privé et n’est pas visible par l’administrateur. Lorsque les utilisateurs ont accepté l’invitation et les conditions générales, ils sont automatiquement connectés à votre serveur MDM et peuvent télécharger les apps et les livres qui leur ont été attribués. Vous pouvez également installer l’app en arrière-plan sur les appareils iOS et iPadOS supervisés. Les apps attribuées sont Apple Business Manager Octobre 2019 10 Configuration automatiquement disponibles au téléchargement sur tous les appareils de l’utilisateur, sans action de votre part ni frais supplémentaires. Pour attribuer des apps et des livres aux utilisateurs, vous devez disposer d’une licence de distribution gérée pour chaque utilisateur. Remarque : si vous avez déjà attribué des apps à des utilisateurs, votre solution MDM pourra effectuer une migration en arrière-plan pour passer d’un modèle d’attribution par utilisateur à un modèle d’attribution par appareil. L’appareil doit être inscrit auprès d’une solution MDM. Reportez-vous à la documentation de votre solution MDM pour obtenir de l’aide. Révoquer et réattribuer des apps. Lorsqu’un utilisateur ou un appareil n’a plus besoin des apps que vous lui avez attribuées, vous pouvez révoquer ces apps et les réattribuer à d’autres utilisateurs ou appareils. Si une app a été attribuée à un utilisateur, celui-ci aura la possibilité d’en acheter un exemplaire pour son usage personnel. Si l’app a été déployée en tant qu’app gérée via la MDM pour iOS ou iPadOS, l’administrateur a en outre la possibilité de supprimer immédiatement l’app ainsi que toutes les données associées. Dans ce cas, il est de bonne pratique d’en avertir l’utilisateur ou de lui accorder un délai avant de supprimer l’app de ses appareils. Une fois distribués, les livres restent la propriété de leur destinataire et ne peuvent être ni révoqués ni réassignés. Informations importantes sur l’attribution des apps Les administrateurs peuvent attribuer des apps dans tous les pays et régions où elles sont proposées sur l’App Store. Par exemple, une app achetée depuis un compte aux États-Unis peut être attribuée à des appareils ou à des utilisateurs en France dès lors que l’app est disponible via l’App Store français. Vous pouvez utiliser une solution MDM pour attribuer des apps uniquement à des utilisateurs détenant des appareils sous iOS 7 (ou version ultérieure) et macOS 10.9 (ou version ultérieure). L’attribution directe d’apps à des appareils, sans identifiant Apple, nécessite iOS 9 et macOS 10.10 (ou versions ultérieures). Acheter et distribuer des apps personnalisées Vous pouvez collaborer avec un développeur tiers pour créer des apps iOS et iPadOS uniques, adaptées à vos besoins professionnels, puis les distribuer à l’échelle de votre entreprise. Ces apps peuvent être proposées en parallèle des apps standard disponibles sur l’App Store, enrichissant ainsi l’utilisation de l’iPhone et de l’iPad. Que vous externalisiez le développement auprès d’un sous-traitant indépendant ou d’un développeur d’apps commerciales, ou que vous proposiez vos propres apps en interne, la distribution d’apps personnalisées via Apple Business Manager constitue la méthode de distribution la plus simple, pour vous ainsi que pour votre organisation. Les apps personnalisées, conçues pour votre entreprise, vous sont exclusivement réservées. Les autres entreprises ne peuvent ni les voir ni les télécharger, la transaction reste donc sécurisée et privée. Apple passe en revue les apps personnalisées avant qu’elles ne soient disponibles sur votre compte. Vous pouvez donc être sûr qu’elles ont été vérifiées sur le plan technique et qualitatif. Le tarif des apps personnalisées est fixé par le développeur. Ces apps peuvent être gratuites ou payantes. Généralement, les apps personnalisées intègrent l’image de marque de l’entreprise dans l’interface utilisateur ou contiennent des fonctions uniques pertinentes par rapport à un processus ou un workflow de l’entreprise. Les développeurs peuvent également ajouter une configuration spécifique pour Apple Business Manager Octobre 2019 11 Configuration votre environnement ou des fonctionnalités adaptées à un partenaire commercial, un revendeur ou une franchise. Travailler avec un développeur. Pour commencer, contactez un développeur. Les développeurs inscrits au programme pour développeurs Apple et qui ont accepté le dernier contrat de licence du programme peuvent soumettre des apps pour une distribution d’apps personnalisées via App Connect. Si votre développeur ou partenaire de référence n’est pas inscrit au programme pour développeurs Apple, renvoyez-le vers le site developer.apple.com/programs/ pour qu’il s’y inscrive. Lorsque le développeur a créé une app et vous a identifié comme l’acheteur autorisé, il peut vous l’offrir gracieusement ou décider d’un prix qui vous sera propre. Fournissez-lui soit votre identifiant d’organisation provenant d’Apple Business Manager ou l’identifiant Apple géré de votre administrateur. Travailler avec vos développeurs d’apps en interne. Pour distribuer une app développée en interne, suivez la même méthode que celle décrite ci-dessus pour distribuer une app personnalisée au sein de votre organisation. Cette procédure ne nécessite pas d’adhérer au programme pour développeurs en entreprise et vous permet de tirer parti des fonctionnalités proposées par l’App Store, comme l’allègement des apps, les statistiques d’utilisation, etc. En outre, sans adhésion au programme pour développeurs en entreprise, il ne sera pas nécessaire de mettre à jour et de modifier les certificats pour procéder à la distribution. Obtenir l’app personnalisée. Votre développeur devra associer l’app personnalisée à votre organisation et vous informer de sa disponibilité pour un téléchargement. Pour ce faire, le développeur devra utiliser votre identifiant d’organisation, que vous trouverez dans Réglages > Informations sur l’inscription. Lorsque vous vous connecterez à Apple Business Manager, vous verrez une section Apps personnalisées dans la barre latérale, sous Contenu. Les apps personnalisées sont disponibles uniquement pour les entreprises spécifiées par le développeur et ne sont pas visibles par les autres. Informations importantes concernant les apps personnalisées • Validation des apps. Chaque app personnalisée et chacune de ses versions (mises à jour) font l’objet d’un processus de validation chez Apple. Les apps personnalisées sont soumises aux mêmes critères d’évaluation que les apps de l’App Store. • Sécurité des apps. Si votre app contient des données professionnelles confidentielles, nous vous conseillons d’y inclure un mécanisme d’authentification. Les apps personnalisées ne sont pas sécurisées par Apple. La sécurité des données au sein de l’app incombe à son développeur. Apple recommande d’appliquer les bonnes pratiques iOS et iPadOS concernant les mécanismes d’authentification et de chiffrement intégrés aux apps. Pour plus d’informations sur les bonnes pratiques en matière de développement sécurisé, consultez les ressources pour développeurs. • Vérification des apps. Pour vérifier qu’une app personnalisée répond aux règles de validation, Apple doit se connecter et exécuter l’app. Adressez-vous à votre développeur ou partenaire pour déterminer comment répondre à cette exigence tout en respectant la confidentialité de vos données. Vous pouvez par exemple fournir des comptes de test ou des échantillons de données dépourvues de contenu sensible pour protéger la confidentialité de vos utilisateurs. Apple Business Manager Octobre 2019 12 Ressources Ressources Pour plus d’informations, consultez le Guide de l’utilisateur d’Apple Business Manager à l’adresse support.apple.com/guide/apple-business-manager. Explorez les ressources suivantes pour obtenir de plus amples informations sur Apple Business Manager : • Apple Business Manager : business.apple.com • Notes de version d’Apple Business Manager : https://support.apple.com/ HT208802 • Mise à niveau vers Apple Business Manager : support.apple.com/HT208817 • En savoir plus sur les identifiants Apple gérés : support.apple.com • En savoir plus sur Microsoft Azure AD • Ressources pour les équipes informatiques : www.apple.com/fr/business/it/ • Assistance aux entreprises : www.apple.com/fr/support/business Apple Business Manager Octobre 2019 13 © 2019 Apple Inc. Tous droits réservés. Apple, le logo Apple, Apple TV, iPad, iPhone, iTunes, Mac, macOS et Safari sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. tvOS est une marque déposée d’Apple Inc. App Store, iCloud et iTunes Store sont des marques de service d’Apple Inc., déposées aux États-Unis et dans d’autres pays. IOS est une marque ou une marque déposée de Cisco aux États-Unis et dans d’autres pays, utilisée ici sous licence. Les autres noms de produits et de sociétés mentionnés dans ce document appartiennent à leurs propriétaires respectifs. Les caractéristiques des produits sont susceptibles d’être modifiées sans préavis. Octobre 2019 Impulse Response Utility User Manual Copyright © 2011 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Impulse ResponseUtility software may reproduce this publication for the purpose of learning to use such software. 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Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, the Apple logo, Logic, and Mac are trademarks of Apple Inc., registered in the U.S. and other countries. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. Preface 5 An Introduction to Impulse Response Utility 5 About Impulse Response Utility 5 About the Impulse Response Utility Documentation 6 Additional Resources Chapter 1 7 Understanding Deconvolution and Impulse Responses 7 Impulse Response Recording: Transients Method 8 Impulse Response Recording: Sine Sweep Method Chapter 2 9 Setting Up Your Impulse Response Recording Environment 9 Ideal Impulse Response Recording Setup 11 Alternative Impulse Response Recording Setup 12 Speaker and Microphone Selection Suggestions 12 Speaker and Microphone Placement Suggestions Chapter 3 17 Creating Impulse Responses in Impulse Response Utility 18 Getting to Know the Interface 18 Understanding the Workflow 19 Creating Your Project 20 Assigning Input and Output Hardware 21 Configuring the Monitoring Parameters 22 Configuring the Sweep Generator 23 Recording Audio into Impulse Response Utility 26 Deconvolving Your Impulse Response 27 Editing Your Impulse Response 28 Auditioning Your Impulse Response 30 Creating a Space Designer Setting 31 Saving, Opening, and Reverting to Saved Projects Chapter 4 33 Recording Impulse Responses from Audio Equipment 33 Recording Impulse Responses from Guitar Speakers 34 Recording Impulse Responses from Hardware Devices 3 Contents Chapter 5 35 B-Format Surround Encoding 36 Advantages of B-Format Surround Encoding 36 Microphone Suggestions for B-Format Recording Appendix 39 Impulse Response Utility Tutorial 39 Creating a Five Channel Surround Impulse Response 40 Recording a Mono to Omni 5 Channel Impulse Response 4 Contents Impulse Response Utility is a multi-track audio recording and deconvolution application. It is designed to enable you to create your own impulse response filesfor Space Designer, a convolution-based reverb effect. Although Space Designer comes with plenty of great sounding Halls, Delays, and other Reverbs, you might want to create an impulse response of your own studio, kitchen, bathroom, or even teapot. This preface covers the following: • About Impulse Response Utility (p. 5) • About the Impulse Response Utility Documentation (p. 5) • Additional Resources (p. 6) About Impulse Response Utility Impulse Response Utility is designed to work seamlessly with Space Designer. You can record and edit impulse responses and create Space Designer files quickly and easily. All tools needed to master the complex process of creating an impulse response, such as a flexible sweep generator, powerful editing facilities, and one-click creation of Space Designer settings, are included. All you need is your Mac, Impulse Response Utility and, of course, an audio interface connected to speakers and microphones. About the Impulse Response Utility Documentation The Impulse Response Utility User Manual (this document) describes the Impulse Response Utility application only. For information about Space Designer, see the Logic Pro Effects manual. • Impulse Response Utility User Manual: This manual provides comprehensive instructions for using Impulse Response Utility to create your own mono, stereo, and surround impulse responses for the Space Designer convolution-based reverb effect. • Logic Pro Effects: This manual provides instructions for using the powerful collection of effects included with Logic Pro. 5 An Introduction to Impulse Response Utility Preface Additional Resources Along with the documentation that comes with Logic Pro, there are a variety of other resources you can use to find out more. Logic Pro Website For general information and updates, as well as the latest news on Logic Pro, go to: • http://www.apple.com/logicpro Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. • http://www.apple.com/support For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Impulse Response Utility, go to: • http://www.apple.com/support/logicpro For discussion forumsfor all Apple productsfrom around the world, where you can search for an answer, post your question, or answer other users’ questions, go to: • http://discussions.apple.com 6 Preface An Introduction to Impulse Response Utility Space Designer combines, or convolves, an impulse response of an acoustic space with an audio signal. The end result is that your audio is placed “inside” the acoustic space, represented by that impulse response. Think of an impulse response as the total echoes (reflections) in a given physicalspace, following an initialsignalspike. The impulse response file is simply an audio file recording made in a space that contains these echoes. There are two practical approaches to impulse response recording: the Transients and Sine Sweep methods. This chapter covers the following: • Impulse Response Recording: Transients Method (p. 7) • Impulse Response Recording: Sine Sweep Method (p. 8) Impulse Response Recording: Transients Method This method involves the recording of an impulse in a space, using a device such as a starter pistol. The gunshot is the impulse, and the audio file you record captures both the impulse (gunshot) and the room response. The advantage of this method isthat the recorded audio file can be used in Space Designer without any further processing. You can use Impulse Response Utility to record your starter pistol impulses, and then combine them into a Space Designer Impulse Response (.sdir) file (and Space Designer setting file). The disadvantage of this method is that it’s extremely difficult to make a perfect, undistorted recording of a starter pistol shot. This is due to the extremely loud nature of the initial transient of the shot. A further issue isthatstarter pistolshots contain very little high or bass frequency information—which, in turn, limits the usable frequency range of the convolved reverb. 7 UnderstandingDeconvolution and Impulse Responses 1 Impulse Response Recording: Sine Sweep Method This is the preferred method for creating impulse responses. It involves playing a broadband audio sine sweep into a space, and recording the sweep (and space) at optimal recording levels. A sine sweep that covers the entire audible frequency range is used, resulting in a broad-range, and often higher-quality, impulse response. The recorded sine sweep audio file cannot directly be used as an impulse response. The recorded file contains all the echoes and reflections—in other words, the response—of the space, stretched out over the length of the sine sweep. This is very different from the starter pistol approach, where the response is contained at the beginning of the file in an impulse. When you use a sine sweep, Impulse Response Utility uses a process called deconvolution to time align and level align all recorded reflections-that are present over the entire recorded sine sweep—into the very beginning of the file. This results in an impulse response that Space Designer can use to combine, or convolve, with your audio signal. Impulse Response Utility can then generate an .sdir setting from the impulse response. 8 Chapter 1 Understanding Deconvolution and Impulse Responses Prior to using Impulse Response Utility to create an impulse response, you need to set up your recording hardware—allowing playback and recording of the sine sweep that Impulse Response Utility will generate. The impulse response of a space is never just the space’s impulse response. The recorded impulse response is always the response of the complete system—in other words, every piece of equipment you use in the recording process. This includes, in signal-flow order: the digital-to-analog converter, the amplifier and speakers (or powered speakers), the room characteristics, the microphones, and finally the microphone pre-amp and analog-to-digital converter. So, before leaving your studio to do any location recording, you have to think about your equipment. These days, even budget converters offer acceptable quality, so your main concern will be your selection of speakers and microphones. This chapter covers the following: • Ideal Impulse Response Recording Setup (p. 9) • Alternative Impulse Response Recording Setup (p. 11) • Speaker and Microphone Selection Suggestions (p. 12) • Speaker and Microphone Placement Suggestions (p. 12) Ideal Impulse Response Recording Setup When making an Impulse Response recording, ideally you will have: • One speaker for each (speaker) location required by the chosen format, if you are going to be generating sine wave sweeps. As examples: If you are recording a true stereo impulse response, you will need two speakers; if you are recording a six channel surround impulse response, you will need six speakers, and so on. If you are not generating sine wave sweeps, you don’t need speakers to play them back (the sound is generated by the starter pistol). 9 Setting Up Your Impulse Response Recording Environment 2 Note: In many cases, it is sufficient to record one speaker position (but all microphone positions required by the chosen impulse response format), and create a mono/omni discrete impulse response. This will result in a less CPU-intensive impulse response in the required format. See Recording a Mono to Omni 5 Channel Impulse Response. • One or more microphones to record the resulting audio from each speaker (or your starter pistol) combined with its echo reflections. The number of microphones you will need depends on the chosen impulse response format. As examples; if you are recording a six channel surround impulse response, there are six microphone positions, so ideally you would have six microphones; if you are recording a six channel B-Format encoded impulse response—where only one microphone position and four tracks are required—you would need fewer microphones, and so on. See B-Format Surround Encoding for more information. • An audio interface that offers enough outputs to send a broadband audio sine sweep into each speaker (if using sine sweeps), and enough inputs to record the resulting audio from each position. Note: You may also need additional microphone pre-amplifiers if you find that your microphones can’t capture a strong enough signal, or your audio interface doesn’t offer enough mic pre-amp inputs. Example of speakers and microphones set up to capture a 5.1 multi-channel impulse response Computer Audio interface Surround microphone tree C L R Ls Rs 10 Chapter 2 Setting Up Your Impulse Response Recording Environment Alternative Impulse Response Recording Setup It is possible to make discrete multi-track impulse responses—even if you don’t have enough speakers or microphones. As you will only be recording one sine sweep at a time, you can set up as many speakers as you have, record them into Impulse Response Utility, then move the speakersto new positions, and repeat the process. To give you an example, imagine you only have a stereo pair of speakers, but want to create a quadraphonic impulse response, which requires the recording of four tracks in four different speaker positions. You could set up your pair of monitors, record their output, then move them to record the other pair of tracks in the other two speaker positions. This method of creating impulse responses is obviously more time-consuming, and not having all your speakers set up at once makes optimal monitor placement—relative to each other—difficult. With time and careful planning, however, you can still achieve the same results. You can also create multi-channel impulse responsesin Impulse Response Utility through use of the Mono to Omni Discrete impulse response format. This only requires the recording of one speaker by as many “channel” microphones as needed (for the chosen format). The resulting impulse response places a lower strain on your CPU. See Recording a Mono to Omni 5 Channel Impulse Response. If you have enough monitors, but not enough microphones, you can set up the required speakers, and move your available microphones between them. This makes optimal microphone placement—relative to other microphones—difficult, but you still have the advantage of optimalspeaker placement (and it’s considerably easier to move microphones than speakers). If your audio interface doesn’t have enough inputs and outputs—for the number of speakers and microphones you are using to create your impulse response—you can still set up all mics and speakers. As you record different tracks into Impulse Response Utility, you will need to disconnect/reconnect the speakers and microphones, in turn. A more detailed discussion of speakers and microphones that are suitable for creating impulse responses, as well as suggestions on speaker and microphone placement, is found in Speaker and Microphone Selection Suggestions and Speaker and Microphone Placement Suggestions. Chapter 2 Setting Up Your Impulse Response Recording Environment 11 Speaker and Microphone Selection Suggestions There are no rules as to which brand or make of microphone or speaker will result in the best impulse response. A general guideline is to use speakers and microphones with a flat response (in other words, the speakers and microphones should offer a very even signal at all frequencies). You can find microphones and speakers that offer relatively flat responses at nearly all budget levels. Tube microphones, which are generally valued for the tonal “color” that they add to the signal, are not necessarily the best choice for recording impulse responses. In general, microphones that work well as ambience mics are good candidates. Speaker and Microphone Placement Suggestions Where you place your speakers and microphones in the recording space will have a large impact on the specific echoes and reflections that your impulse response captures. It goes without saying that creativity is key, and experimentation the name of the game. There are, however, some general suggestions and guidelines that may help when you make your initial recordings. One general suggestion for placement in environments with hard floors, made from materials such as concrete: You may find that a “chirp” is recorded at the beginning of your impulse response. Thissound is actually the generated sine sweep resonating through the floor into the microphone stand, and then into microphone itself. The speed ofsound through floors and concrete material is much faster than through air, resulting in a pre-impulse response thatstarts before the impulse response you actually want to record. To circumvent this potential problem, you can use “studio” drum pedestals and specialized microphone mounts that have strong acoustic absorbers built into them. If you can’t transport pedestals, or afford expensive microphone mounts, try a thick carpet under the speakers and microphone stand(s). Below are some specific approaches for you to experiment with when creating impulse responses. Remember, these are just suggestions. There are no rules regarding how far the speakers need to be placed away from the microphone array, the best angles, ideal distances between speakers and microphones, and so on. You may want to try a number of different techniques and placements to find the ideal arrangement. Creating impulse responses is an art unto itself. The Virtual Listener Approach Thisis perhapsthe most common technique for placing speakers and microphones when creating impulse responses. The goal isto capture the effect of the echoes and reflections coming from all around the space—as heard at the listening position. In this approach, the speakers are set up at the edges of the room, and the microphone is placed in the listening position. 12 Chapter 2 Setting Up Your Impulse Response Recording Environment The resulting impulse response (when later used in Space Designer to add reverb to your signal) should sound like your audio is being played back from the various speaker locations in the “space.” This method doesn’t require multiple microphones; a single microphone can be turned toward each speaker in turn, and different audio recordings can be made from the same location. The image below illustrates the virtual listener approach to setting up five speakers (for a five channel surround impulse response), with one microphone placed centrally in the space. C L R Ls Surround Rs microphone tree This method can create the impression of the audio signal being completely immersed in the simulated space. Chapter 2 Setting Up Your Impulse Response Recording Environment 13 The Auralization Approach Another common strategy for placing speakers and microphones in a space uses the auralization approach. This technique attempts to capture the reflections from the performer’s perspective. Place one or more speakers at the performer’slocation (or another audio source) and place the microphone at the listening position. The resulting impulse response should sound like your audio is being played back from these specific speaker locations. For example, you can make a stereo impulse response of a particular stage using the auralization technique, and when you use the IR in Space Designer, your audio should sound like it is on that stage. The image below illustrates use of the auralization technique to set up your speakers and microphones for a true stereo impulse response. Stage Audience L R To capture a surround impulse response that represents being “in the audience” of a space, set up two speakers in the performer’s position as above, but place a surround array of microphones around the room. This can create a realistic feeling (and effect) of being “in the audience” when the performance is coming from in front of you. This can help to create a surround-like effect from a live stereo recording. 14 Chapter 2 Setting Up Your Impulse Response Recording Environment The Virtual Echo Chamber Approach A good alternative to the auralization approach is placement of your speakers and microphonesin a way that creates a virtualspace that resembles a physical echo chamber. To create this kind of impulse response, face the loudspeakers toward the corners, and the microphones toward the opposite corners. This is how microphones in a physical echo chamber would be placed. This eliminates a direct path from the speaker to the microphone, and captures more reflections. The image below illustrates how you could set up two speakers and two microphones to create a stereo impulse response, using this virtual echo chamber approach. L R The resulting impulse response allows you to mix the reverb into the dry signal, without any phase cancellation issues caused by early reflections or direct signals. This approach works particularly well if you want to keep your signal mostly dry, without any alteration or coloration from the reverb, but still want to add a high fidelity reverb tail to your audio. You can also use this method for surround or multi-channel reverbs. The main concept to remember is that the speakers should be pointing at the wall, to eliminate direct paths between microphones and speakers. The illustration below offers a possible layout for a five channel reverb chamber. The loudspeakers, placed in a circle, are directed at the walls, and the microphone array is in the center of the circle. Surround microphone tree C L R Ls Rs Chapter 2 Setting Up Your Impulse Response Recording Environment 15 This chapter coversthe creation of your own impulse responsesfor use in Space Designer. This chapter covers the following: • Getting to Know the Interface (p. 18) • Understanding the Workflow (p. 18) • Creating Your Project (p. 19) • Assigning Input and Output Hardware (p. 20) • Configuring the Monitoring Parameters (p. 21) • Configuring the Sweep Generator (p. 22) • Recording Audio into Impulse Response Utility (p. 23) • Deconvolving Your Impulse Response (p. 26) • Editing Your Impulse Response (p. 27) • Auditioning Your Impulse Response (p. 28) • Creating a Space Designer Setting (p. 30) • Saving, Opening, and Reverting to Saved Projects (p. 31) 17 Creating Impulse Responses in Impulse Response Utility 3 Getting to Know the Interface All parameters and functions that you need to create impulse responses are contained in a single screen. Monitor and Sweep Generator section Hardware I/O Assignment area Editing area Inputs/Track section The Impulse Response Utility interface is divided into four areas: • Hardware I/O Assignment area: Contains pop-up menus that enable selection of the audio input and output device. • Monitor and Sweep Generator section: Contains monitoring and sine sweep generation parameters, plus buttons to deconvolve your audio tracks into an impulse response, and to audition your IR. • Inputs/Track section: Lists all audio tracks used for your impulse response recordings. • Editing area: Displays the audio information of the currently selected audio track. Understanding the Workflow Creating an impulse response in Impulse ResponseUtility consists of the following stages: Stage 1: Creating a New Impulse Response Project Configure your Impulse Response Utility project for the number of tracks your impulse response format requires. Stage 2: Setting Impulse Response Utility Parameters Set the hardware I/O, monitor, and sweep parameters for your audio track recordings. 18 Chapter 3 Creating Impulse Responses in Impulse Response Utility Stage 3: Recording Use Impulse ResponseUtility to record the audio tracks needed for your impulse response. Stage 4: Deconvolving Your Audio Recordings Assuming you have recorded sine sweeps, click Deconvolve after all audio tracks have been recorded. Impulse Response Utility will generate an impulse response from your tracks. Stage 5: Editing and Auditioning Cut silent portions, apply fades, and so on, to optimize your impulse response. Stage 6: Creating a Space Designer Setting Click Create Space Designer Setting when finished with the steps above. This adds the newly created impulse response to your list of available Space Designer settings. Creating Your Project When you first open Impulse ResponseUtility, you will be presented with the New Impulse Response Project dialog. This is the first step in creating a new impulse response project. You can also create a new impulse response project by choosing File > New Project (or pressing Command-N). Impulse Response Utility offers formats ranging from conventional stereo impulse responses, true stereo (where each channel is processed discretely), quadraphonic formats, or five, six, or seven channel surround formats. These latter formats can be in either traditional multi-track, or B-Format encoding. See B-Format Surround Encoding for more information. You can also create multi-channel impulse responsesin Impulse ResponseUtility by using the Mono to Omni Discrete impulse response format. This only requires the recording of one speaker by as many “channel” microphones as needed (for the chosen format). The resulting impulse response places a lower strain on your CPU. See Recording a Mono to Omni 5 Channel Impulse Response. To create a new impulse response project 1 Choose an impulse response format from the Configuration pop-up menu. Chapter 3 Creating Impulse Responses in Impulse Response Utility 19 In the window below the Configuration pop-up menu, the dialog displays the number of speaker and microphone positions required by the selected format. 2 Click OK This exits the New Impulse Response Project dialog, and the required number of tracks (determined by the format you chose) are shown in the Inputs/Track section. Assigning Input and Output Hardware You need to set up the audio input and output device in the Hardware I/O Assignment area before you can use Impulse Response Utility. The audio input selection determines the audio device used to record audio tracks. The audio output selection determines the audio device used to monitor the recorded signal, and to play back the generated sine sweep. To select an audio input device µ In the Audio Input pop-up menu, choose an audio interface driver. To select an audio output device µ In the Audio Output pop-up menu, choose an audio interface driver. Note: Although the Hardware I/O Assignments area also displaysthe currentsample rate, you cannot change the sample rate of your impulse response project in Impulse Response Utility. If you want to record your audio tracks at a different sample rate, you will need to change it in the Audio MIDI Setup utility, or in the software for your audio interface (if applicable). Consult the documentation for your audio interface if you’re unsure. 20 Chapter 3 Creating Impulse Responses in Impulse Response Utility Configuring the Monitoring Parameters Once you have recorded sine sweep tracksinto Impulse ResponseUtility, you can monitor them through a stereo output of your choice. The monitor controls determine the monitor channel and level. You can also mute the monitor section. To select the stereo monitor output channels µ Choose the desired stereo output pair from the Monitor Channel menu. To adjust the output level of the monitored signal 1 Click inside the Monitor Level field. 2 Do one of the following: • Drag left (or down) to reduce the volume, or right (or up) to raise the volume. • Type a numeric value for the monitor level (any value above 0 dB will set the monitor level at 0 dB). Important: To avoid audio feedback when recording, be sure to mute the monitor output. To mute the monitor output µ Select the Monitor Mute checkbox or press the M key. Chapter 3 Creating Impulse Responses in Impulse Response Utility 21 Configuring the Sweep Generator The sweep generator produces a sine wave that sweeps smoothly from 20 Hz up to 20 kHz. The sweep generator parametersset the hardware output, volume, length, reverb time, and pre-roll of the sine sweep. • Sweep Channel pop-up menu: Choose the input channel that you want to use. • Test Tone pop-up menu: Choose a test tone frequency for the integrated, sustaining (in other words, non-sweeping)sine wave tone generator. Thisfacility helps you to calibrate your hardware outputs. Use thistest tone to ensure that your hardware output channel is connected properly, and that your speakers can reproduce the selected sine wave frequency. • On checkbox: Select to hear the test tone. • Sweep Level field: Sets the level of the test tone. • Sweep Length pop-up menu: Sets the sweep duration. Ideally, you want your sine wave to be short. This avoids artifactsin your recording due to air motion, rattling of interiors, and other ambient noise. Unfortunately, short sweeps may not yield high enough signal-to-noise ratios in some recording situations. If you find that the results obtained from recording with a 10-second sweep aren’t all you hoped for, try the 50-second sweep. There are three length options for the sine sweep: • 10s: A 10-second sine sweep • 50s: A 50-second sine sweep • Off: No sine wave sweep. Choose this setting if you are recording a starter pistol impulse. • Reverb Time field: Determines the maximum recording time for each track. In order to accurately capture the acoustic properties of a space, you should set a value that is long enough to capture the decay phase of all reverberations and echoes. 22 Chapter 3 Creating Impulse Responses in Impulse Response Utility If you are using the sweep generator, the reverb time will start when the sine sweep ends. If you have the Sweep Length set to Off (in order to record a starter pistol impulse response), the Reverb Time parameter determines the entire length of the recording. • Preroll checkbox: You want to be sure that any operator noise,such astyping, readjusting microphones, and so on, is not recorded. You can set a pre-roll for just this purpose; recording won’t start immediately, giving you time to finish typing, make last-minute mic corrections, and so on. The pre-roll length equals the time you set with the Reverb Length parameter. Recording Audio into Impulse Response Utility Once you have made hardware assignments and configured the monitor and sine sweep parameters, it’s time to start recording audio tracks. If you are using the sweep generator, you will hear the sine wave sweep up through its frequency range. Impulse Response Utility will record the result onto the selected audio track(s). If you have set the sweep generator to Off, click Record, and shoot your starter pistol. Impulse Response Utility will record the resulting impulse response onto the selected track. To select an audio track Do one of the following: µ Click in a track lane. µ Use the Up and Down Arrow keys to navigate through the track list. To record in Impulse Response Utility 1 Select an audio track in the Inputs/Track section. 2 Configure the audio track for recording. 3 Repeat this step for each track required by the chosen format. 4 Click the Sweep/Record button to begin recording. Chapter 3 Creating Impulse Responses in Impulse Response Utility 23 Configuring Audio Tracks for Recording The Inputs/Track section is automatically filled with the number of tracks required for the impulse response recording, based on your selections in the New Impulse Response Project dialog. Every track lane in the Inputs/Track section has a number of parameters. Some are automatically configured by Impulse Response Utility; others you will need to set before recording. Track Parameters • Speaker Position pop-up menu: Selects the speaker position label for the selected track. Both Impulse Response Utility and Space Designer use these labels to identify, and process, the audio files that comprise a multi-channel stereo or surround impulse response. Impulse Response Utility automatically sets the speaker position label for each track, but you can change these labels to any other position (available in the current impulse response format), if desired. • Mic Position pop-up menu: Selects the mic position label for the selected track. Both Impulse Response Utility and Space Designer use these labels to identify, and process, the audio files that comprise a multi-channel stereo or surround impulse response. Impulse Response Utility automatically sets the mic position label for each track, but you can change these labels to any other position (available in the current impulse response format), if desired. • Input pop-up menu: Sets the physical input for each track. Be sure to select the correct input before recording. • S[olo] button: Click to engage or disengage solo mode for the selected track. When the Solo button is engaged (yellow), the input signal is routed to the monitor section, and the input level is displayed in the VU meter (see “VU meter” below). Only one track can be soloed at a time. • R[ecord-Enable] button: Places the selected track into record-ready mode. The R button turns red when engaged. Clicking this button also activates the Solo button for the selected track, allowing you to monitor the input signal before recording. You can record-enable several tracks at once, for multi-channel recording. When you click Sweep/Record, a recording will be made on all record-enabled tracks. • L[ock] button: As soon as one track is locked, the sweep generator parameters are also locked. This ensures that any subsequent recordings will use identical sweep settings. This is necessary, as every track must use an identical sine sweep—in order to produce a phase coherent, accurate, multi-channel impulse response. 24 Chapter 3 Creating Impulse Responses in Impulse Response Utility • Peak field: Displays the peak level value in dB. If the level ever exceeds 0 dB, the peak value is held until cleared. Clicking the Peak column header resets the Peak readout for all tracks. • Level: Displays input meters for each track. These level meters always show the current level of the physical inputs. VU Meter Measures either the signal level present at the (soloed) track input, or the sweep generator output. During playback of recorded audio, the VU meter displaysthe level of the selected track. A status message below the VU meter shows its current operating mode. The VU meter scale ranges from 0% to 100%, with 100% equalling 0 dB. Making a Recording Once you have configured and record-enabled the desired tracks, click the Sweep/Record button. If you are using the sweep generator, the button shows “Sweep.” If you are not using the sweep generator (Sweep Length parameter is set to Off) the button shows “Record.” • Clicking Sweep automatically startsthe recording process and generatesthe sine sweep. The VU meter is automatically switched to display the sweep generator output. • Clicking Record automatically begins the recording process. Shoot your starter pistol and Impulse Response Utility will record the audio. Recording will continue until the entire sine sweep (if the sweep generator is being used) and Reverb Length time has elapsed. The recording automatically ends. You can abort the recording process by clicking the Sweep/Record button. Note: The Sweep/Record button is disabled if no track is record-enabled. Chapter 3 Creating Impulse Responses in Impulse Response Utility 25 Automatic Saving of Projects Impulse Response Utility records into your computer’s RAM, not to your hard disk. This means that nothing you have recorded is saved, until you save your project. For your convenience, Impulse Response Utility automatically saves your project to disk after every recording. If you haven’t saved your project, the Save dialog is opened, allowing you to name your project, and choose a hard disk location. If you have already saved your project, the save process happens automatically. See Saving, Opening, and Reverting to Saved Projects for more information. Deconvolving Your Impulse Response Deconvolution isthe process used to create impulse responsesfrom (recorded) broadband audio sine sweeps. If you use the sweep generator, you will need to deconvolve your audio recordings—in order to make them usable as an impulse response. To deconvolve your audio tracks Do one of the following: µ Click the Deconvolve button. µ Choose Edit > Deconvolve (or press Shift-Command-D). Following deconvolution, your audio tracks will be a single impulse response that you can audition, edit, and turn into an .sdir setting. Note: While it is possible to deconvolve each audio track once recorded, there’s really no point in working this way; it’s far more efficient to wait until all tracks are recorded, and then deconvolve them. 26 Chapter 3 Creating Impulse Responses in Impulse Response Utility Editing Your Impulse Response When you have finished recording your audio tracks, you may feel that they have superfluous silence at the beginning or end of the file, don’t fade out early enough, and so on. To address these minor issues, Impulse Response Utility allows you to cut, crop, and fade your audio files in the Editing area. To view an audio file in the Editing area µ Select the audio file. Your audio file will automatically appear in the Editing area. You can choose from three different display modes by clicking the buttons at the top of the Editing area: • Waveform button: Shows the recorded audio as a standard waveform. The horizontal axis displaysthe elapsed time. The vertical axis displaysthe audio level as a percentage. • Energy button: Shows the sound energy distribution over time. The horizontal axis displays the elapsed time. The vertical axis displays audio levels in dB. • Spectrogram button: Shows the frequency distribution over time. The horizontal axis displays the elapsed time. The vertical axis displays the frequencies, which are color-coded by dB range. The color legend in the upper-right corner of the Editing area indicates the color schema. These display modes allow you to effectively analyze your waveforms, making it easy to identify material you need to cut or crop, or that requires a fade. The Spectrogram mode, in particular—which simultaneously shows frequency, level, and time—allows for very detailed analysis of your audio. To select and play part of an audio file in the Editing area 1 Drag horizontally over the desired section. Chapter 3 Creating Impulse Responses in Impulse Response Utility 27 2 Audition yourselection by clicking the Play button. Click the Cycle button to continuously play back the selected track. Tip: Use the Space bar to toggle playback, or the C key to toggle cycle playback. To edit the selected part of an audio file µ Choose one of the editing operationsfrom the buttons at the top-left corner of the Editing area: • Crop button: If you make a selection that doesn’t extend to either the beginning or end of the audio, the left edit button activates the Crop function. Clicking this button will remove the audio to the right and left of your selection, without touching the selected audio. You can also choose Edit > Crop (or press Command-X) to crop. • Cut button: If you make a selection that extends to either the very beginning or very end of the audio, the left edit button activates the Cut function. Clicking this button will remove the selected audio, without touching the unselected audio. You can also choose Edit > Cut (or press Command-X) to cut. • Fade button: If you make a selection that includes either the very beginning or end of the audio, you can select the Fade function. Clicking this button creates a gradual fade over the length of the selection area. You can also choose Edit > Fade (or press Command-F) to fade. Note: In order to maintain phase coherency between all tracks of your impulse response, edits are performed across all tracks equally. To ensure that your impulse response cannot include tracksthat are not edited equally, you are prevented from recording further tracks once an edit has been made. Auditioning Your Impulse Response To really know how your impulse response will sound when used in Space Designer, you need to be able to listen to it in context. Impulse Response Utility includes an Audition window for just this purpose, where the loaded impulse response can convolve test audio files. The Audition window is divided into three sections: the Impulse Response area, the Monitor area, and the Audio Test Files area. 28 Chapter 3 Creating Impulse Responses in Impulse Response Utility The appearance of the Audition window changesslightly when using a B-Format impulse response. The B-Format Audition window removes the Output Channel parameter from the Track area and includes a Loudspeaker area: Audition B-Format Impulse Responses window Audition Impulse Responses window Impulse Response Utility allows up to five audio files to be loaded/used as sources when auditioning your impulse response. The Audition window also includes four test source files. To open the Audition window µ Click the Audition IR button. The Audition window will open. All editing functions are disabled while the Audition window is open. Audition Impulse Response Window Parameters • Enable checkbox: Enables or disablesindividual impulse response recordings. Use these boxes to select the specific file (or files) you want to audition. • Input IDlabel: Identifiesthe specific impulse response file by itsspeaker > mic positions. • Output Channel pop-upmenu (not available for B-Format Impulse Responses): Selectsthe physical output channel used for playback of the selected impulse response. • Mix field: Determines the ratio of dry test source signal to wet effect signal. Chapter 3 Creating Impulse Responses in Impulse Response Utility 29 • Monitor Level field: Sets the overall auditioning volume. • Test Audio File buttons: Plays one of the four included test source audio files. • Open buttons: Click to load an audio file for use as a test source. Any uncompressed audio file can be used. • Play buttons: Click to play the selected audio file through the enabled impulse response file (or files). Loudspeaker Area Parameters (B-Format Specific) • Number of Loudspeakers field: Determines the number of loudspeakers that Impulse Response Utility will decode the impulse response into. Click the arrows to increase or decrease the number of speakers, or double-click the number of speakers and type in a new value. • Loudspeaker Angle field: Allows you to configure the angle of each loudspeaker. The B-Format decoding takes this into account when re-creating the recorded space. • Output Channel pop-up menu: Sets the physical output channel for the selected loudspeaker. Creating a Space Designer Setting Once you are satisfied with your impulse response, the final step is to generate an .sdir file, and a plug-in setting. When done, your newly created impulse response can be used in Space Designer. To create a Space Designer setting Do one of the following: µ Click the Create Space Designer Setting button. µ Choose File > Create Space Designer Setting. Impulse Response Utility will generate an .sdir file of your impulse response and save it in the following directory: ~/Library/Application Support/Logic/Impulse Responses. A plug-in setting file for your impulse response is also generated and saved in the following directory: ~/Library/Application Support/Logic/Plug-In Settings/Space Designer. The next time you open Logic Pro, your newly created impulse response will be available to Space Designer. 30 Chapter 3 Creating Impulse Responses in Impulse Response Utility Saving, Opening, and Reverting to Saved Projects The Impulse Response Utility project file is a Mac OS X package file, that contains all files associated with the project. Saving Projects Impulse Response Utility automatically saves your project as soon as you record audio (see Automatic Saving of Projects). You can manually save your project at any time, however. You can also open a previously saved project, or revert the current project back to its last saved state. To save your project with its current name and location µ Choose File > Save Project (or use Command-S) to save your IR Project with its current name, in its current location. To save your project with a new name or location µ Choose File > Save As (or use Command-Shift-S). Opening Projects If you’d like to continue working on a previously saved project, you first need to open it. To open a project µ Choose File > Open Project (or press Command-O), then navigate to your project file. µ Choose File > Open Recent to open a hierarchical menu of recently opened project files. Reverting to Saved Projects If you are unhappy with the edits or recordings made in your current project—and you have saved the project—you can use the File > Revert to Saved command. This returns the project to its last saved state. Note: Once you use the Revert to Saved command, you will lose all unsaved changes. Chapter 3 Creating Impulse Responses in Impulse Response Utility 31 You aren’t limited to creating impulse responses from rooms and spaces. You can make an impulse response from any device that you can play a broadband sine sweep into (and record the results). Two examples are guitar speaker cabinets and hardware processing devices, such as tube equalizers and reverb effects units. This chapter covers the following: • Recording Impulse Responses from Guitar Speakers (p. 33) • Recording Impulse Responses from Hardware Devices (p. 34) Recording Impulse Responses from Guitar Speakers The sound of an electric guitar through a guitar amplifier is very heavily influenced by the frequency response and tonal color of the guitar speaker cabinet. If you make an impulse response from a guitar speaker cabinet, and then run a direct guitar amp signal through that impulse response in Space Designer (set to 100% wet), the direct signal will sound as if it was played through the speaker cabinet. You will still need a microphone and audio interface to create an impulse response from a guitar speaker cabinet, but you won’t need an additional monitor speaker for the sine sweep—you will play the broadband sine wave into the guitar amp/speaker itself. If your guitar amplifier has an effects return, you can use it to create the impulse response. If your guitar amp does not have an effects return, you can either use a “re-amp” box (that will raise the impedance of your audio interface’s line out to the level required by your guitar amplifier at its input), or you can use a line level amplifier in place of your guitar amplifier (to amplify the sine sweep through the guitar cabinet). 33 Recording Impulse Responses from Audio Equipment 4 You can experiment with microphone placement just as you would when miking a physical space, although the most common microphone placement is “close miking”—placing your microphone as near as one inch from the speaker itself. The illustration below shows how you might want to set up your guitar speaker cabinet when creating your impulse response. Guitar amplifier with microphone Audio interface Computer Recording Impulse Responses from Hardware Devices Imagine that you want to create an impulse response from your favorite tube microphone pre-amp, allowing you to use its unique color on your audio. This way, you can run a signal through this impulse response in Space Designer (set to 100% wet) and add the color of your microphone pre-amp to the signal. This scenario requires neither speakers nor microphones. You can simply connect the output from your audio interface to the input of your hardware device, and play the sine sweep through it. Connect the output of your hardware device to the input of your audio interface, and record it back into Impulse Response Utility. You can use this method to make impulse responses from classic hardware reverbs, multi-effects units, equalizers, and so on. You should take care when making impulse responses from hardware effects devices that include modulation effects. Modulations such as phasing, choruses, and so on, interfere with the sine sweep itself, which makes deconvolution difficult or impossible. This is also true for some reverbs, such as classic Lexicon hardware reverb devices, in which the reverb tails are modulated. In these cases, you may be better off sending a recorded impulse (such as a recorded spike or gunshot) through the hardware effects device, instead of a sine sweep. 34 Chapter 4 Recording Impulse Responses from Audio Equipment B-Format is a special way of encoding spatial information. It represents space using four audio streams: one to capture the sound pressure (W), and three to capture the X (front-to-back), Y (left-to-right), and Z (top-to-bottom) room coordinates. The following illustration shows you how these four audio streams interact with each other, to create a three-dimensional spatial image. Height Z Front X Right Y Z Y Left X Rear W Space Designer can decode and convolve these fourstreamsinto reverbs, in allsupported surround formats. Space Designer offers a comprehensive library of B-Format impulse responses that use all four streams (W, X, Y, and Z). As impulse responses do not make use of Z-axis information, Impulse Response Utility only records and encodes information from the W, X, and Y positions, saving CPU resources and disk space. Impulse Response Utility allows you to encode all supported surround impulse response formats in B-Format. This chapter covers the following: • Advantages of B-Format Surround Encoding (p. 36) • Microphone Suggestions for B-Format Recording (p. 36) 35 B-Format Surround Encoding 5 Advantages of B-Format Surround Encoding One advantage of the B-Format is that it can capture a surround image with fewer audio files. Normally, you need to record every speaker position from every microphone position, to correctly record surround information. With B-Format, these four (or three, in Impulse Response Utility) audio streams are all you need to capture audio from each speaker. As an example, imagine you are using a five channel setup, and want to use Impulse Response Utility to create a five channel impulse response. Using traditional methods, you would need to record all five speakers from all five microphone positions, resulting in 25 audio files. If you choose to create your project as a five channel B-Format impulse response, you will only need to record 15 audio files—three audio recordings (W, X, and Y) from each of the five speaker positions. As you can see, B-Format encoded surround impulse responses require far fewer audio files, which means they require less hard drive space, as well as needing less RAM and CPU cycles when decoded in Space Designer. A second advantage to B-Format encoding is phase coherency when using multiple microphones at once. Whenever you use multiple microphones, differences in the time it takes sound to reach each microphone can result in phase cancellations and phase shifts, which can affect the quality of your impulse response. As the point of reference is always the same when using B-Format encoding, there will be no phase issues, even when using multiple microphones to record your impulse response. Microphone Suggestions for B-Format Recording Perhaps the ultimate B-Format recording microphones are the SoundField single point source microphone series. These microphones contain all the capsules you will need to make a complete B-Format reference recording in one pass, and include hardware to send the separate axis streams to individual Impulse Response Utility tracks. You will only need to swivel the mic once toward each speaker position, and the mic and processing hardware does the rest. For those who can’t afford SoundField mics, Impulse ResponseUtility provides additional microphone optionsfor B-Format recording. Capturing the W (sound pressure) signal requires an omni-directional microphone. Capturing the X and Y axis signals requires a microphone with a figure-eight pattern (to capture signal from the front and back of the mic). Therefore, with two figure-eight patterned microphones—one pointed directly at the speaker source (X), and another positioned perpendicularly (Y)—and an omni-directional microphone for the sound pressure (W), you can record each speaker position in one pass. Be sure to arrange the microphones so that their capsules are as close as possible to each other—ideally, you want to have a single, tight point of reference for each speaker position. 36 Chapter 5 B-Format Surround Encoding You will need to swivel each of the figure-eight pattern microphones to each speaker position. The omni-directional microphone will not need to be swiveled, as it has a 360-degree capsule. Even if your budget is too limited for three separate microphones, you can still create B-Format impulse responses by recording each audio stream separately into Impulse ResponseUtility. All you need is a microphone that allows you to switch between omni-directional and figure-eight patterns. Many good microphones(at all budget levels) have this capability. You will need to do a significant amount of pattern-switching and microphone swiveling, but it can be done. Chapter 5 B-Format Surround Encoding 37 This appendix walks you through the complete process of creating an impulse response, from project start through to final Space Designer setting. For this tutorial, imagine that you have permission to record in a particularly good-sounding local concert hall. You have decided to record a discrete five channel surround impulse response, as you’ll probably never have this opportunity again. This appendix covers the following: • Creating a Five Channel Surround Impulse Response (p. 39) • Recording a Mono to Omni 5 Channel Impulse Response (p. 40) Creating a Five Channel Surround Impulse Response The stages outlined below should be followed when you want to create a discrete five channel surround impulse response. Stage 1: Microphone and Speaker Setup The first thing you’ll want to do is set up your speakers and microphones. Imagine you’ve decided to use the virtual listener approach—which requires five speakers and at least one microphone in the middle—which can be turned toward each speaker in turn. Ideally, you will have five identical, powered monitors. This will save you time when recording audio, and will allow you to see all speakers at once, to ensure they are each the same distance from the corners and walls, and so on. When all speakers have been positioned, you need to set up your microphone in the middle of the hall. Make sure everything is properly connected to your audio interface. Stage 2: Creating a New Project The next step is to open Impulse Response Utility and create a new five channel impulse response project. The New Impulse Response Project dialog informs you that this format requires five speaker positions and five mic positions. When you exit the dialog, 25 audio tracks will appear in the Inputs/Track section—one for each speaker position, from every microphone position. 39 Impulse Response Utility Tutorial A p pendix Stage 3: Configuring Impulse Response Utility Parameters Position your microphone toward the speaker you want to record (the left front speaker, for example). Set up the Monitor section, sweep generator, and input for the selected track. Stage 4: Recording Record-enable the selected track, and click the Sweep button. Impulse Response Utility will prompt you to name and save the new project after your first recording. Swivel the microphone to the second surround position, record-enable the track, and click the Sweep button. Once the recording has completed, the project will automatically be saved in the background. You may want to play back the track in the Editing area, just to double-check the recording. Repeat this process another 23 times, until you have recorded all 25 audio tracks needed to capture all possible microphone and speaker position combinations. Stage 5: Deconvolving Click the Deconvolve button after you have recorded (and checked) the audio files at each position. At this point, you should save the project. Stage 6: Editing and Auditioning If you have any unwanted silence at the beginning or end of your impulse response, use the Editing area to remove it. Use the Audition window to play some test material through your impulse response, to make sure that you’re satisfied with the result. If not, edit your impulse response further. If you still aren’t satisfied, go back to step 2 or 3, and start over. Stage 7: Creating a Space Designer Setting Once you are fully satisfied with your impulse response, you’re ready to click Create Space Designer Setting. Impulse ResponseUtility generatesthe .sdir and Space Designersettings files. Your new impulse response will be available the next time you open Space Designer. Recording a Mono to Omni 5 Channel Impulse Response The process in Creating a Five Channel Surround Impulse Response is an example of recording a true surround impulse response. In many cases, it is sufficient to record one speaker position, thus creating a mono/omni discrete impulse response. Mono/omni discrete impulse responses are not only easier and faster to record, but also place a lower strain on the CPU. To create a mono to Omni 5 Channel impulse response 1 Choose the Mono/Omni to 5 channel template in the New Projects dialog. You will see that mono/omni discrete projects only require one speaker. 2 Aim your speaker toward the ceiling or a back wall. 40 Appendix Impulse Response Utility Tutorial 3 Point your microphone to the first surround position: Front-Left, for example. 4 Record the sweep. 5 Repeat the process for all remaining microphone positions. Appendix Impulse Response Utility Tutorial 41